Donizetti’s L’Elisir d’Amore
Sunday, February 18, 2018, 2:00 pm
CONDUCTOR: Domingo Hindoyan
LIBRETTIST: Felice Romani
Sung in ITALIAN
Estimated Run Time: 2 hrs 59 mins
Pretty Yende debuts a new role at the Met with her first Adina opposite Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his ravishing “Una furtiva lagrima.” Bartlett Sher’s production is charming, with deft comedic timing, but also emotionally revealing. Domingo Hindoyan conducts.
One of the most popular comic operas in the repertoire, L’Elisir d’Amore combines a lighthearted story with beautiful melodies and four great leading roles. Among the star tenors to appear as Nemorino, and to perform that most rewarding of arias, “Una furtiva lagrima,” are Enrico Caruso, Beniamino Gigli, Ferruccio Tagliavini, Carlo Bergonzi, and, more recently, Luciano Pavarotti (pictured) and Matthew Polenzani.
Teatro Cannobiana, Milan, 1832. Met premiere: January 23, 1904. L’Elisir d’Amore has been among the most consistently popular operatic comedies for almost two centuries. The story deftly combines comic archetypes with a degree of genuine character development rare in works of this type. Its ending is as much a foregone conclusion as it would be in a romantic comedy film today—the joy is in the journey, and Donizetti created one of his most instantly appealing scores for this ride.
The opera is set in a small village in rural Italy. Some early editions indicate a location in Basque country. The important fact is that it’s a place where everyone knows everyone and where traveling salesmen provide a major form of public entertainment. The Met’s production sets the action in 1836, when the Risorgimento, the movement for Italian independence, was beginning to gather momentum.
What separates L’Elisir d’Amore from dozens of charming comedies composed around the same time is not only the superiority of its hit numbers, but the overall consistency of its music. It represents the best of the bel canto tradition that reigned in Italian opera in the early 19th century—from funny patter songs to rich ensembles to wrenching melody in the solos, most notably the tenor’s showstopping aria “Una furtiva lagrima” in Act II. Its variations between major and minor keys in the climaxes are one of opera’s savviest depictions of a character’s dawning consciousness.
Italy, 1836. Nemorino, a young villager, is unhappily in love with the beautiful farm owner Adina, who he thinks is beyond his reach. The peasants, who have gathered around Adina, ask her what the book she is reading is about, and she tells them the story of how Tristan won the heart of Isolde by drinking a magic love potion. A regiment of soldiers arrives led by the pompous Sergeant Belcore, who immediately introduces himself to Adina and asks her to marry him. Adina declares that she is in no hurry to make up her mind but promises to think over the offer. Left alone with Nemorino, Adina tells him that his time would be better spent in town, looking after his sick uncle, than hoping to win her love. Or he should do as she does: change her affections every single day. Nemorino reminds her that one can never forget one’s first love.
Dulcamara, a traveling purveyor of patent medicines, arrives in the village advertising a potion capable of curing anything. Nemorino shyly asks him if he sells the elixir of love described in Adina’s book. Dulcamara claims he does and pulls out a bottle of Bordeaux. Though it costs him his last ducat, Nemorino buys and immediately drinks it. Dulcamara explains that he will have to wait until the next day—when Dulcamara will be gone—to see the results. Nemorino begins to feel the effect of the “potion” and, convinced he will be irresistible to Adina the next day, feigns cheerful indifference towards her. Surprised and hurt, Adina flirts with Belcore. When orders arrive for the sergeant to return immediately to his garrison, Adina agrees to marry him at once. The shocked Nemorino begs her to wait one more day, but she dismisses him and invites the entire village to her wedding. Nemorino desperately calls for the doctor’s help.
At the pre-wedding feast Adina and Dulcamara entertain the guests with a song. Adina wonders why Nemorino isn’t there. She doesn’t want to sign the marriage contract until he appears. Meanwhile, Nemorino asks Dulcamara for another bottle of the elixir. Since he doesn’t have any money left, the doctor agrees to wait so Nemorino can borrow the cash. Belcore is bewildered that Adina has postponed the wedding. When Nemorino tells him that he needs money right away, the sergeant persuades him to join the army and receive a volunteer bonus. Nemorino buys more elixir and suddenly finds himself besieged by a group of girls. Unaware of the news that his uncle has died and left him a fortune, he believes the elixir is finally taking effect. Adina feels responsible for Nemorino’s enlistment, but her concern turns to jealousy when she sees him with the other girls. Dulcamara boasts about the power of his elixir and offers to sell Adina some, but she is determined to win Nemorino in her own fashion.
Nemorino now feels sure that Adina cares for him: he noticed a tear on her cheek when she saw him with the other girls. Adina returns to tell Nemorino that she has bought back his enlistment papers. When he again feigns indifference, she finally confesses she loves him. Belcore appears to find the two arm in arm and takes his leave, declaring that thousands of women await him elsewhere. Dulcamara brags to the crowd that his miraculous potion can make people fall in love and even turn poor peasants into millionaires.
Conductor: Domingo Hindoyan
Production: Bartlett Sher
Set Designer: Michael Yeargan
Costume Designer: Catherine Zuber
Lighting Designer: Jennifer Tipton
Adina: Pretty Yende
Nemorino: Matthew Polenzani
Belcore: Davide Luciano
Dulcamara: Ildebrando D'Arcangelo