Let’s raise a glass to Dr Dulcamara, that titan of commercial virtue, a man who could show the supermarkets a thing or too in his inflation-defying prices. As the cost of a weekly shop burgeons, he alone has kept the price of his key product – his miraculous elixir – fixed at a very reasonable three lira. How reliable he is, as too is Laurent Pelly’s production of L’elisir d’amore which has been in the Royal Opera House stable since 2007 and continues to delight with its picturesque set, vivid colour and no-nonsense approach to Donizetti’s beloved melodramma giocoso.
Like many of the revivals in the UK this year, there’s no sign of rust – the gags are well-oiled and the choreography is tight under the care of revival director Paul Higgins – but given how familiar it seems I was nonplussed to note that this is the first revival since 2017. Seeing it again was akin to catching up with a beloved eccentric uncle, whose jokes are the same but always elicit the same belly laughs.
Where this production really takes off is in the casting of its four principals. This was Nadine Sierra’s belated house debut. She is no stranger to the role of Adina and she simply sizzled in a way that even the best Adinas rarely do. Yes, she was peevish and petulant, but there was a crackle to her performance that fired the blood. Hers is an Adina more than just aware of her sexuality; she enjoys it and she uses it mercilessly. In some respects, her “journey” is the triumph of a deep monogamous love over wandering carnality. Vocally, Sierra delivered a blend of impeccable technique with emotion and feeling. Her trills were a delight, her top notes smooth and easy, her legato milky. She easily soared over the chorus and orchestra, even at the busiest moments, and there was a vocal confidence there palpable in her delivery.
It was good to see Liparit Avetisyan back in a role which clearly suits him. He has sung in this production before, but gave a performance opposite Sierra that frothed with chemistry. His is another voice perfectly suited to bel canto: Avetisyan’s high notes were secure and his tone even. His opening aria “Quanto è bella, quanto è cara” was warm and unaffected, with a lovely sense of line.
Boris Pinkhasovich’s macho Belcore liked to strike a pose, deploying a patrician baritone with integrated registers and just a hint of cigar smoke. There was a touch of danger in his performance though, less good natured buffa bluster and more bully, particularly with a threat of violence towards his rival as he vies for Adina’s affection, which gave this performance an unusual edge. Then of course there’s our commercial visionary, Dulcamara. Sir Bryn Terfel is another veteran of Pelly’s production and seemed entirely comfortable, dropping the white coat for a raspberry suit that I’d buy just to irritate the fashion conscious in my life. The middle and lower registers of Terfel’s voice remain strong, but the top varies in strength and he seemed a tad pushed in the rapid sales patter of “Udite, udite, o rustici”.
William Spaulding’s chorus was on fine form, bringing to life the gossipy cattiness of village life. There were some fine moments from the pit with some particularly delicate woodwind. Conductor Sesto Quatrini, another house debut, tended to be at his best in the quieter moments when he left space for the music to grow, but there were one or two places, the Act 1 finale in particular, where his pacing was uncomfortably fast. A strong revival though of this vintage production.
