Donizetti – L’elisir d’amore

Nemorino – John Tessier
Adina – Sarah Tynan
Belcore – David Kempster
Dulcamara – Andrew Shore
Gianetta – Julia Sporsen

Conductor – Pablo Heras-Casdo
Director – Jonathan Miller

English National Opera, 12 February 2010

Opera-goers will be familiar with Jonathan Miller’s ‘bar room’ version of Rigoletto, successfully updating the action to modern America. Now he has attempted something similar with Donizetti’s L’elisir d’amore. Has it succeeded? The answer must be an emphatic ‘Yes’, based on the current performance at the Coliseum.

The curtain rises on a Mid West township in America during the Fifties; a relentless sun beats down on Adina’s Diner. The set, designed by Isabella Bywater, forms a focal point – all around there is a feeling of vast empty spaces. There is an immediate excitement – a detachment of soldiers is approaching, led by Sergeant Belcore. His portrayal, by David Kempster, is absolutely authentic, reminding me of a blustering corporal encountered in the distant days of my youth. One disadvantage of introducing modern US soldiers is that the audience is reminded of the country’s intervention in other nations’ affairs. Despite the use of the WMD fig leaf, an impartial observer could conclude that this is pretty naked aggression!

Belcore’s veterans, however, look harmless enough – a squad of cooks or clerks, no doubt thankful not to be in the firing line. The sergeant impresses Adina with his talk of past conquests but she is gifted with brains as well as beauty and she has an eye on nemorino, having checked out that there is a rich uncle in the vicinity not in good health. As part of her high-risk strategy she encourages Belcore even to the point of accepting his proposal. Nemorino, stylishly sung by John Tessier, despairs of competing for her hand – he is struck dumb in her presence and imagines that only an earthquake could make her change her mind. On commentator has described him as ‘the dimmest … most credulous tenor in the entire repertoire!’ I think this is unfair – even the most intelligent suitor can be tongue tied in the company of such an attractive girl (played with great charm by Sarah Tynan).

Nemorino’s salvation arrives shortly in the form of the quack Doctor Dulcamara, driving a magnidicent Fifties automobile. He wastes no time in selling a bottle of his Elixir to Nemorino. The alcoholic tonic does wonders and Nemorino treats Adina with indifference, so that she arranges her wedding with Belcore. Desperate, Nemorino requests more of the elixir but has no cash to pay for it. Belcore tells him that he should join the army and confirms there will be a cash payment. Nemorino agrees and is only saved at the last minute by Adina who realises she might lose him and buy back his enlistment papers.

Dulcamara (played with great panache by Andrew Shore) shows the humane streak in his character by enlightening her about the fortune left to Nemorino on the death of his uncle. The Doctor, exulting in the power of his elixir, drives away to seek other victims leaving the happy couple to rejoice in their new found happiness.

Kelly Rourke has made a fine job of translating Romani’s elegant verses into a colloquial text; not too American, no transatlantic dictionary needed. The chorus and orchestra under the promising young conductor Pablo Heras-Casdo were outstanding. This could well become a classic production; now is the time for ‘feel-good’ shows, particularly when virtue is rewarded and true love is triumphant.

Stuart Jenkins