Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Reviews

Sarah Tynan as Adina [Photo by Tristram Kenton / ENO]
09 Mar 2010

The Elixir of Love at ENO

As a medic with a keen knowledge of psychology, Jonathan Miller probably knows a thing or two about elixirs and placebos.

Gaetano Donizetti: The Elixir of Love

Nemorino: John Tessier; Adina: Sarah Tynan; Dulcamara: Andrew Short; Belcore: David Kempster; Gianetta: Julia Sporsén. Director: Jonathan Miller. Designer: Isabella Bywater. Conductor: Pablo Heras-Casado. English National Opera, London Coliseum. Friday 12th February 2010.

Above: Sarah Tynan as Adina

All photos by Tristram Kenton / ENO

 

On the evidence of this production, first aired by New York City Opera, he’s not too concerned about the ‘dark side’ of medical charlatanry; for here Miller invites us to enjoy a light-hearted evening of music and food, mischief and fun, at ‘Adina’s Diner’ — a popular stopping place way out in the America Midwest, beloved by homespun yokels and travelling tricksters alike. We lap up the aural and visual candyfloss and, after a charming evening, skip home, refreshed by the reassuring spirit of innocence and optimism which prevails.

Isabella Bywater’s set is a superbly naturalistic recreation of the era. The rolling yellow plains and flawless blue sky evoke the landscapes of Edmund Hopper, and Bywater’s bubblegum pink and lime green diner recreates Hopper’s ‘Nighthawk’, albeit with a more golden, ambient glow. The revolving set is ingenious, but the dusty exterior is more successful than the interior, the latter seeming cramped and overcrowded. Despite Miller’s detailed direction of the chorus, there was simply too little room, forcing many to remain seated — including, in the opening scene, Nemorino, who, set back and enclosed by the set, was swamped by the chorus and orchestra.

Elixir_ENO_02.pngJohn Tessier as Nemorino

Into this rural eatery waltzed the confident proprietor, Adina. Sarah Tynan, sporting a peroxide bob, was perky and coquettish rather than a vamp. Her voice was as agile as her wiggling hips, and bright and warm; and she offered a lively, engaging performance, perfectly conveying the mannerisms of a 1950s blond bombshell. However, there was no sense of ’depth’ beneath the flighty surface and Tynan offered little to mitigate her cruel treatment of Nemorino.

Indeed, there was a disappointing lack of chemistry between the Adina and Nemorino, the latter presented here as a gauche garage hand. Canadian tenor John Tessier was a naïve and trusting yokel, but while his clear, true rendering was well-received, his voice is fairly light-weight and lacks an Italianate warmth and colour that hints at passionate depths beneath. Tessier’s ‘miraculous’ transformation from garage dunce to matinee idol was not entirely credible and too often he sang to the audience, rather than to the other characters on stage. However, the production did create a dramatic context for ‘Una furtive lagrima’, which for once did not seem like a convenient ‘add-on’.

Elixir_ENO_03.pngAndrew Shore as Dulcamara and company

The real star of the show was the experienced Andrew Shore, as the oleaginous quack doctor, Dulcamara. He slid in, seated in an ostentatious open-top Cadillac cabriolet (its shine a little sullied after a journey across the dusty plains), looking sharp but shifty in white suit, shades and brogues, panama hat perched rakishly on ill-fitting wig. Shore’s swindler was confident, assured, and crafty. [The automatic dispenser for Coca-Cola — that ‘pure refreshment’ that ‘revives and sustains’ — was cleverly positioned ...] Indeed, for Shore’s sparkling salesman’s pitch the surtitles disappeared — one assumes this was an intentional acknowledgement of Shore’s prowess rather than a technical hitch — but every word of Kelley Rourke’s clever libretto was crystal clear. Shore presented Rourke’s wittily rhymed medicinal claims — “You reek of halitosis/ Then take a couple of doses” — with consummate mastery, although (if one was being harsh) one might accuse him of trying a little too hard at the risk of straining the voice. The subsequent wedding celebrations were pure MGM gold. Impersonating Elvis, Shore’s line ‘I’ve got a little ditty’, drew the largest laugh of the night; and when Adina joined him ‘on-stage’ in the diner, there was considerably more knowing interaction between them than was apparent in her exchanges with the younger heart-throb Nemorino. Adina’s Marilyn drawl might have been a bit too self-knowing, but Tynan, and Miller, pulled it off, just staying short of overkill.

As a gum-chewing GI, David Kempster’s Belcore swaggered and boasted his way, temporarily to Adina’s heart. Julia Sporsén’s Gianetta was sparkling and full of life.

Elixir_ENO_05.pngDavid Kempster as Belcore and company

Miller and Bywater had clearly, and effectively, thought hard about the realism of this production. But there was one incongruity: the inconsistency between the text and its delivery, with regard to accent. It was decided (so the programme told us) to use Americanisms (‘a knuckle sandwich’, ‘hello cupcake’), to pay homage to Porter and Sondheim (‘an elixir with a kick, sir’), and to attempt American accents throughout. The problem was that no one seemed to have told the chorus, and the principals frequently only remembered at the ends of phrases, which made Tessier’s native Canadian burr seem rather out of place.

Another problem was the over-enthusiasm of the conductor. Spaniard Pablo Heras-Casado, who enjoyed himself just a bit too much, encouraging the orchestra too excitedly and destroying the balance between stage and pit. Moreover, the tempi were often too slow: fine for the patter songs but fatal in the acts’ final choruses which should whip up a froth.

Elixir_ENO_04.pngSarah Tynan as Adina and Julia Sporsén as Gianetta

So, this was a charming, folksy show. Miller’s humour was of the gentle kind — Nemorino turning momentarily into a bass-baritone when swigging the elixir, the outside loo flushing incongruously as Gianetti announced Nemorino’s financial good fortune. Dulcamara’s slugging of his own elixir when he observed the ladies chasing after Nemorino drew an appreciative chuckle from the audience. However, despite its ‘silliness’, there are some shades of darkness in this work — innocence is threatened by deception, guileless by guilt, and love seems indissolubly linked to money; but such shadows were kept well under wraps in this affectionate, enjoyable show.

Claire Seymour

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):