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.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
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The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
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Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.