Donizetti’s may have had his doubts about L’elisir d’amore when it opened in Milan in 1832, but Scottish Opera need have no such reservations about their current production. It would be easy for this confection of an opera to be nothing more than froth, but its depth and humanity are brought to the fore by a capable cast.
Edgaras Montvidas’ beautifully-sung Nemorino is a man of simple tastes, happy to leave wit and sophistication to Adina – and in the hands of Elena Xanthoudakis, she delivers both of those traits as well as impeccable diction and a lovely tone. Martin Bronikowski sang well as the pompous sergeant Belcore, but a bit more swagger wouldn’t go amiss to bring out the comedy in his pursuit of Adina and his extremely swift recovery when she jilts him. His fallback is Gianetta, played by Sarah Redgwick who does an excellent job of capturing the character’s dichotomy of jealousy and friendship towards Adina.
Its depth and humanity are brought to the fore by a capable cast
As Dulcamara, the charlatan doctor who sells Nemorino the titular elixir, Francesco Facini is subtly comic and in good voice. The introduction of a mute accomplice for Dulcamara, borrowing Donizetti’s given name Gaetano, doesn’t quite work dramatically. He is a bit too magical for an opera where the lack of magic is the big joke, even though Martin Docherty’s skills as a physical actor make the character very entertaining to watch.
Updated to the early 20th century and set within a picture frame, the production develops a distinctly Alpine flavour as the characters adopt traditional dress to celebrate Adina’s wedding. It’s lively and full of fun, and Francesco Corti conducts with a lightness of touch which allows the score to trip along merrily without becoming cloying.