Opera review: L'elisir d'amore

Published on Thursday 24 September 2009 20:59

SCOTTISH OPERA: L'ELISIR D'AMORE **** THEATRE ROYAL, GLASGOW

THE charm in Giles Havergal's revived production for Scottish Opera of Donizetti's L'elisir d'amore lies in its simplicity.

He directs it just as it is – a jolly colourful rustic romp set within a giant picture frame, the prime intention of which is to paint a pretty picture and tell a simple story.

Yes, the human dilemmas are juicily explored, but never in a way that rams the brakes on Donizetti's music or on a cast that sings it way to success. Conductor Francesco Corti makes sure of that, urging briskly – never forcing – the musical flow.

Ever present in this sunny village scene are peasants who are yokels to the core and a primary-coloured militia (a sniper's gift!) who troop in and out like toy soldiers. Nothing is taken too seriously, except the inevitable expectation that true love will win out in the end.

Soprano Elena Xanthoudakis is a sheer delight as Adina, colouring every sung moment with refreshing clarity and agility or, where called for, plaintive reflection. Edgaras Montvidas brings to Nemorino a sympathetic fragility, with enough emotive power to evoke his ultimate triumph.

There is barely a weak link. Marcin Bronikowski Belcore is pompous but never overcooked. Francesco Facini imbues magic potion pedlar Dulcamara with more than the obvious comic exterior. Even such a relatively minor role as Giannetta turns to gold in the hands of Sarah Redgwick, whose one major aria is worth waiting for.

There's a danger in this compact set for things to get a little cramped, which happens at the start of Act 2. And there was a tendency among the chorus in this opening performance to lag very slightly behind the beat. But generally, this production plays cleverly with limited space, and moves along like a fresh breeze.