L.A. Opera perfects formula for comedy with ‘Elixir’

Monday, April 22, 1996

New production does justice to Donizetti’s masterpiece

By John Mangum

Daily Bruin Senior Staff

A theater manager in Milan, let down by another composer, had
two weeks to find a new opera for his stage. In a fit of wild
desperation, he called on Gaetano Donizetti, an already-established
maestro, asking the composer to revamp one of his older works as a
replacement.

An insulted Donizetti declared that he would not, and instead
promised the manager a new work. The composer gave Felice Romani,
his librettist, seven days to pen the verse, and then he set to
work.

And "L’elisir d’amore" ("The Elixir of Love") was born, or so
the story goes.

Although correspondence between the composer and his father has
surfaced that calls this legend into question, there can be no
doubt that Los Angeles Music Center Opera’s new production of the
work Saturday evening wedded comedy to quality of the highest
order.

The opera, with its well-crafted story set somewhere in the
European countryside, is filled with characters that give everyone
involved a chance to make the most of their talent. Nemorino, a
poor youth, loves Adina, a woman of means given to whim and flights
of fancy in matters of the heart. But she does not reciprocate his
affection.

Enter the studly sergeant, Belcore. He’s conquered many lands
and even more women, and the capricious coquette Adina is next on
his list.

Nemorino, driven to desperate measures by his competition, seeks
the aid of the traveling quack Dulcamara. Dulcamara passes off a
bottle of wine on the country bumpkin, calling it an "elixir of
love."

Of course the elixir ends up working, but only because Nemorino
inherits a cart-load of money and suddenly becomes the most popular
bachelor in the village. Adina falls for Nemorino, Dulcamara sells
a lot of wine with his new testimonial, and Belcore leaves in
search of further glory.

"L’elisir" probably ranks second only to Rossini’s "Barber of
Seville" in the pantheon of comic opera greats. But Donizetti does
Rossini one better ­ he reveals a depth and humanity in
Romani’s characters that the barber and his cohorts sometimes
lack.

Nobody brought this out better than Ramón Vargas, the
globally sought-after tenor who made his L.A. Opera debut as
Nemorino. He inflected his singing with the ardent, youthful
quality that his lovelorn and often downcast character demanded.
His comic timing and sheer vocal presence brought another dimension
to his portrayal. And his rendition of the opera’s most famous
number of all, "Una furtiva lagrima" in Act 2, could not have been
more melting.

As Adina, Alison Hagley also made a notable L.A. Opera debut.
Her bright, lean soprano, while not ideally warm and hard-pressed
to hit the high notes, fit the part comfortably enough. She brought
out the flirt in her character and found real depth as Adina’s
heart melts toward Nemorino in the second act.

Depth was not something that veteran baritone Thomas Allen had
to worry about. He blustered effortlessly through the buffo role of
Dulcamara, absorbing the energy of all present like a sponge and
then shooting it out in bolts of comic lightning. His imitation of
a lecherous Senator during Adina and Belcore’s wedding feast in Act
2 was one of the evening’s high points.

Both Gerald Finley and Laurinda Nikkel, as Belcore and Adina’s
sidekick Giannetta respectively, turned in excellent performances
in their supporting roles.

This ideal cast was drawn together under the obviously attentive
eye of director Stephen Lawless. The relationships between
characters, stage and the opera were seamless, and the comedy
flowed without impediment.

The production, designed by Johan Engles, provided an attractive
backdrop for the work. A basic set, consisting of a large wall with
five doors and a field beyond them, changed to meet the needs of
the comedy.

Sensitive lighting by Paul Payant only reinforced the attractive
qualities of the production. His use of spotlighting to single out
the main characters form the masses on-stage was especially
effective.

Bel canto veteran Gabriele Ferro was to the orchestra pit what
Lawless obviously was to the stage. He led the accomplished forces
of the L.A. Opera Orchestra and Chorus with a steady, flexible
hand, attentive to the details of Donizetti’s flowing score.

The whole thing probably could not have come off much better. It
was two hours of pure enjoyment and certainly one of the high
points of the season.

It’s amazing to think that Donizetti took only two weeks to
craft what has provided 150 years of opera-lovers with
unforgettable nights like this.

OPERA: L.A. Opera presents Donizetti’s "L’elisir d’amore" at the
Dorothy Chandler Pavilion April 24, 30, May 3, 5 at 7:30 p.m. and
April 27 at 1 p.m. TIX: $22-$120, $15 student/senior rush one hour
before curtain. For more info., call (213) 972-8001 or check out
L.A. Opera’s home page at
http://www.primenet.com/~thoward/lamco/

Ramón Vargas and Alison Hagley both made their L.A. Opera
debuts in Donizetti’s "L’elisir d’amore."

Thomas Allen tackled the role of the snake-oil peddler in L.A.
Opera’s new production of "L’elisir d’amore".

… There can be no doubt that Los Angeles Music Center Opera’s
new production of the work Saturday evening wedded comedy to
quality of the highest order.