Metropolitan Opera House, Lincoln Center, N.Y.; March 21, 2012
Stupendous singing, fine acting and high spirits are highlighting the Met’s revival of its 1991 staging of Donizetti’s “L’Elisir d’amore.” John Copley’s witty direction has stood up well – and been altered by the singers to suit their needs, I might add – but Beni Montresor’s sets are still as ugly as possible. Every conceivable pastel shade is thrown together and the result is sickening; the fly-down cardboard sets are sleazy-looking. Directive: close eyes and listen, or watch only the singers if possible.
But what singers! Juan Diego Florez’ bright sound may not be ideal for the love-sick Nemorino – it lacks an inherent sadness so crucial to the part (listen to recordings of Bergonzi or Pavarotti) – but his flawless technique, absolute security, musical intelligence and witty, charming acting (watch him dance!) joined with his boyish good looks turned Nermorino into flesh and blood. His well-focused sound came through in ensembles and his long-lined, smooth “Una furtive lagrima” won him a well-deserved ovation. Diana Damrau’s bright, agile soprano is just right for Adina, and although she has less to do than Mr Florez, she made a fine impression. Both vocally and dramatically, she went from cool to warm – and when she finally told Nemorino that she loves him, the audience almost applauded. Just lovely.
Baritone Marius Kwiecien, so comfortable on stage and so confident vocally, was a swashbuckling Belcore, the Sergeant who almost marries Adina, much to Nemorino’s horror, and Alessandro Corbelli as the quack Doctor Dulcamara who sells wine to Nemorino and claims it is an elixir of love, upheld the best of the basso buffo tradition. And if you consider that he was wearing a bright pink coat, purple pants and yellow leggings, you’ll realize that he had a great deal to overcome. Soprano Layla Claire was a charming Giannetta, the village girl who winds up marrying Belcore when Adina refuses him.
Conductor Donato Renzetti indulged the singers to the point of occasional lethargy: Ensembles were invariably bright and zesty but solos were at the pleasure of the singers showing off their talents, and there were moments that dragged a bit. But this is a minor morsel of carping – it was a delightful evening at the Met. The hideous production will be replaced at the start of next season and if the performances are as fine, it will be ideal.
