L'Elisir d’amore (The Elixir of Love)
L’Elisir d’amore (The Elixir of Love) is arguably Donizetti’s most popular opera. It is certainly his most indestructible; able to weave its spell as powerfully in an amateur setting as in a professional opera house production. His reputation has been enhanced by the grand dramas of Lucia di Lamermoor and his brilliant British Queen series but Elixir, and to a lesser extent Don Pasquale, are the charming comedies of everyday life that audiences continue to welcome back as old friends. It also doesn’t hurt that the leading tenor’s combination of good-natured bumbling and impressive singing (“Una furtive lagrima” is one of the glories of the lyric-tenor repertoire) has proved an irresistible attraction for star tenors from Caruso to the present.
Los Angeles Opera opened their Season in a fairly low-key fashion with a revival of the charming Stephen Lawless directed production which debuted here in 1996. Star tenor Rolando Villazon had stepped out of the role of Nemorino earlier this year due to surgery required on his vocal chords and a last-minute torn tendon pulled Ruggero Raimondi out of the cast. This left Nathan Gunn as the only well-known name, while the romantic leads were filled by two artists making their LA Opera debuts, Giuseppe Filianoti and Nino Machaidze.
Though Elixir’s well-worn plot about two people brought together by a charlatan’s phony love potion is slight, Donizetti’s genius imbues the stock characters with depth and dimension. Nino Machaidze’s took full advantage of this to make her Adina memorable and compelling. The voice is mature, expressive and burnished with alluring dark tones. She is a skilful actress, making the most of her change from disdainful cynic to ardent lover. As her romantic counterpart, Filianoti is wonderfully charming Nemorino, full of puppy dog devotion and boundless energy. On opening night his sweet tenor sounded somewhat dry in the upper register but this never affected his overall performance.
Nathan Gunn is a strong and intelligent artist who easily commands the stage but he seemed slightly uncomfortable with the broadly painted narcissism of Belcore. The evening’s other debut was Raimondi’s replacement as the quack Doctor Dulcamara, Giorgio Cauduro. Younger than most who play this role, Cauduro brought a more suave and attractive style to the part, without sacrificing laughs. His voice is supple and expressive and he looks like a singer to watch.
The Lawless production is traditional in the best sense of the word and Johan Engels’ gorgeous barn set giving way to the rolling fields of Tuscany, remains the perfect setting for it. James Conlon conducted with his usual style and graceful attentiveness to the singers.
Dorothy Chandler Pavilion; September 12 – 30, 2009 213 972-8001 www.laopera.com