14 May 2009
L’elisir d’amore at Covent Garden
L’elisir d’amore is perhaps Donizetti’s silliest opera — but also one of his most charming.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
L’elisir d’amore is perhaps Donizetti’s silliest opera — but also one of his most charming.
Laurent Pelly’s 2006 staging, first seen at Covent Garden in 2007 and revived here by Daniel Dooner, certainly supplies much absurdity, capriciousness and inanity, but it is rather lacking in genuine warmth and tenderness. In this ‘busy’ staging, characters are entertaining but not fully engaging; we smile gently at their follies and witticisms, but they don’t truly touch our hearts. We don’t really care; and, it seems, neither do they. The humour is largely visual: indeed, on the opening night the largest laughs were raised by the manic terrier which intermittently whips across the stage, and by the between-scenes front cloth advertising Doctor Dulcamara’s entire range of miraculous potions and lotions - the clutter of cures for Constipazione and Impotenze recalling an email inbox, deluged by SPAM offering fake Viagra.
Striving for a realism that would put many a verismo production to shame, Pelly furnishes his stage with a relentless assemblage of period props — tractors, lorries and Vespas — to evoke rural, post-war Italy. The curtain rises on a precipitous mound of hay-bales. It’s true that this Nemorino — a foolish bumpkin — certainly has a mountain to climb if he’s to win the hand of Diana Damrau’s feisty, spoiled Adina. While the workers toil in the sun-drenched fields, the queen bee perches aloft, preening herself beneath her pink parasol, laughing disdainfully at tales of ‘real’, un-dying love of the kind that will later catch her unawares.
No-one could accuse Giuseppe Filianoti of lack of commitment: as Nemorino he, literally, throws himself into the part, hurling himself around the stage like a hyperactive child, tumbling and flailing in a hopeless effort to catch the eye of the indifferent Adina. When Dulcamara declares that he met a few fools in his time but none quite as dim as Nemorino we are inclined to nod in agreement. While this self-deprecating slapstick raised a few chuckles, it did not distract from Filianoti’s vocal weaknesses. His is a dark-toned tenor, but the upper range is strained and reedy, and his opening number was particularly uncomfortable. In the Act 1 finale he seemed completely adrift, musically and dramatically. Despite these problems, there were moments to admire. Filianoti’s diction is excellent, he uses the words well, and his performance did improve as he slowly warmed up. He certainly conveyed Nemorino’s ardency and sincerity in the Act 2 ‘Una furtiva lagrima’. Yet, it was rather an effort, and the simple elegance required to communicate the profound, ‘poetic’ sensibility to be found beneath the buffoon’s clownish exterior was lacking.
As Adina, the German soprano, Diana Damrau, commands the stage. Dressed in a seductively low-cut dress (costumes are by Chantal Thomas), she flirts and flaunts, incessantly prancing, posing and pouting. However, while she entirely lacks innocence and does not really earn our sympathy, she can be forgiven for these exaggerated excesses as she renders Donizetti’s lyrical melodies and capricious coloratura with delicious beauty and ease. Outraged by the attention that Nemorino’s new-found wealth garners from the other girls, Damrau’s fiery fioratura is flawless. And, her declaration of love - a stunning two-octave plunge sealing her promise to make him ‘as happy as I used to make you miserable’ - is the high-point of the evening.Simone Alaimo as Dulcamara and The Royal Opera Chorus [Photo by Johan Persson courtesy of The Royal Opera House]
The Sicilian bass-baritone, Simone Alaimo, played Dulcamara as if this was his five-thousandth performance of the role … perhaps it was. His buffo gestures were rather tired; even the chorus, who excitedly anticipated his entrance, didn’t wait around to hear his sales pitch — leaving Alaimo addressing an empty stage. A sharp, red suit in Act 2 enlivened him somewhat; responding to Adina’s confident assertions that the power of her own physical attributes is more than a match for any elixir Dulcamara cares to offer, he demonstrated more energy and sparkle. But, Pelly seems to view the quack doctor less as a loveable rogue than as a greasy slime-ball. Like Anthony Michaels-Moore’s cock-sure Sergeant Belcore, he is presented as a cynical opportunist. In Belcore’s opening aria, despite standing aloft the hay-bales, a ‘king of the mountain’, Michaels-Moore struggled to project his baritone; he was a rather one-dimensional figure throughout, a charmless bully. The Japanese soprano, Eri Nakamura, supplied the evening’s one genuine moment of sweet, unaffected tenderness, as Giannetta.
Pelly’s direction of the chorus is confusing and over-emphatic. At times, they are uncompromisingly involved in the action, was in the opening scene when they taunt and torment Nemorino with an alarming aggression! Elsewhere they ignore the action entirely, and face forwards, immobile, to address the audience — a gesture which lacks subtlety, relevance and becomes increasingly irritating.A scene from L’elisir d’amore [Photo by Johan Persson courtesy of The Royal Opera House]
Despite Pelly’s desire for realism, this production does not truly convey the dark side of the drama - the potential sadness, even tragedy, hiding behind the comic frills, or the cynical exposure of the true elixir of love: money. Fortunately, Bruno Campanella understands the aesthetics of bel canto, and he stylishly controlled the colour and pace of the performance from the pit.
So, in this visually catchy production there is lots to entertain and much to admire, but perhaps rather less to enchant.