L’Elisir d’Amore comes from that highly successful
and creative period between
Anna Bolena in 1830 and
Lucia
di Lamermoor in 1835. Many of the works of that period, and
those that followed, have, over the last decade or so, come back
into fashion in staged performances. This is particularly so for
the
bel canto dramatic works such as
Lucrezia Borgia
(1833),
Maria Stuarda (1835) and
Roberto Devereux
(1837)
. With worldwide staging right from its launch,
L’Elisir
d’Amore has never had to wait for revival or rediscovery.
It has always had a place in the repertoire both in Italy and
other major operatic centres. Yet it was completed in haste. Frustrated
by the censors in Naples always wanting happy endings, the composer
broke his contract with the theatre there, freeing himself to
accept more frequent commissions elsewhere. He was approached
to write an opera for the Canobbiana theatre in Milan when the
contracted composer withdrew. The great, if rather vain and undependable
poet, Romani, produced a libretto in a week whilst Donizetti is
said to have composed the music in little over two. Certainly,
as Ashbrook states (“Donizetti and his Operas”. C.U.P.,
1982): “Donizetti for the first time demonstrated his full
mastery of the buffa form.”
L’Elisir d’Amore
was an overwhelming success and received an unprecedented 31 performances.
The work is more
opera buffa than comic opera, whilst the
style of the melodic music superbly conveys the conflicting emotions
of the participants who are challenged to match it.
The story of
L’Elisir d’Amore concerns the
illiterate, rather gauche, country boy Nemorino (tenor) who loves
Adina (soprano), a wealthy neighbour, who spurns his offers of
love. He looks over to her and sings his lovelorn cavatina
quanto
é bella (CD 1 tr.3). She meanwhile sings to her friends
of the love potion that bound Tristan and Isolde (tr.4). Hearing
her, Nemorino dreams of obtaining such a potion. A lively march
heralds the arrival of sergeant Belcore (baritone) and his platoon
(trs.5-6). He quickly impresses Adina and proposes marriage whilst
Nemorino tries to convince her of the sincerity of his love. With
a fanfare Dulcamara (buffa bass), a quack doctor arrives, selling
a ‘cure-all’ potion. In the cavatina
Udite, udite,
o rustici he extols the virtues of his potion (tr.10). Dulcamara
convinces Nemorino that his potion will bring Adina to love him
and the naïve boy buys a bottle with what money he has. In
reality the potion is nothing more than red wine. Nemorino keeps
sipping it and soon becomes more confident if slightly tipsy (trs.13-15).
He feigns indifference to Adina, which nettles her, and she promises
to marry Belcore (trs. 16-18). To purchase more of Dulcamara’s
potion Nemorino, having no more money, has to sign to join Belcore’s
troop (CD 2 tr.4). Adina discovers from Dulcamara what Nemorino
has done to buy the potion, and why. She then relents and decides
to win him by her eyes and smile (trs.9-11). Nemorino notices
a tear in her eye and sings the famous romanza
Una furtive
lagrima (tr.11). Adina tells him of her love and all ends
well with Belcore reflecting that there will always be girls in
the next village (tr.14).
DVDs of
L’Elisir d’Amore seem to be proliferating
this year. The 2009 Glyndebourne performance (to be reviewed)
joins that of the recently issued 2005 from Barcelona (see
review)
in quick succession. In both cases the all too obvious presence
of an audience has disadvantages. It is therefore a particular
pleasure to have this very well recorded audio-only studio recording
back in the catalogue. It must have been one of Roberto Alagna’s
earliest recordings and well before his assumption of heavier
roles had coarsened his tone. Whilst not quite matching Pavarotti
on his Decca recording, alongside Sutherland, Alagna’s singing
of his introductory cavatina
quanto é bella (CD
1 tr.3) and later the renowned romanza
Una furtive lagrima
(CD 2 tr.11) are elegantly phrased and appropriately poignant
in expression. In between he admirably characterises Nemorino’s
many changes of mood so as to make a significant contribution
to the whole. Although French, Alagna’s parents were from
Sicily and he is wholly comfortable in the language and its musical
prosody. This is so vital in the
bel canto operas where
the vocal line and words sit so naturally on the music. It is
particularly so where the conductor is as wholly sensitive and
aware of the idiom, and sympathetic to the phrasing of his singers,
as Marcello Viotti in this recording.
The rest of the cast are native-born Italians and it shows throughout
in the manner of their singing, particularly their ease of diction
and vocal expressiveness. This is particularly important for the
singers of Belcore and Dulcamara. The young Pietro Spagnoli, who
we have come to know as a leading exponent of Figaro in Rossini’s
Il Barbiere (see
review)
and other roles in the genre, portrays the arrogant womaniser
that is Sergeant Belcore to the manner born. He exudes glowing
and arrogant self-confidence and bravura as he chats up the ladies
and brushes aside the loss of Adina to Nemorino. Bruno Pratico
is the Dulcamara in the DVD from Barcelona referred to above and
where his acting overcomes some vocal wear and tear. Here he is
far better disciplined as well as tighter vocally and gives a
vivid and characterful representation of the conman cum quack
doctor. If not quite erasing memories of Geraint Evans or Enzo
Dara in the role, he is easy on the ear and conveys both the bravura
and duplicity of the character.
As the spirited and strong-willed Adina, Mariella Devia is in
her element. Her vocal expression is first rate with secure coloratura
complementing her characterisation. Her diction is significantly
better than Sutherland’s without detracting from the beauty
of her singing whether as the capricious young woman, flirtatious
nearly bride, or the eventual repentant lover of Nemorino. Francesca
Provvisionato makes a worthwhile contribution and shows the promise
realised in a few live recordings made later in the decade.
The accompanying leaflet has a track-listing and a track-related
synopsis in English, French and German. There are also references
to the availability of a
copy
of the score, including English translation, and also the
libretto
with German translation.
Robert J Farr
Adina, a rich and capricious farmer - Mariella Devia (soprano);
Nemorino, a simple local in love with Adina - Roberto Alagna (tenor);
Belcore, an army sergeant billeted in the village - Pietro Spagnoli
(baritone); Doctor Dulcamara, an itinerant quack - Bruno Pratico
(buffa bass); Giannetta, a country girl - Francesca Provvisionato
(mezzo) 
