One of the more remarkable stories regarding the opera, L'elisir D'Amore by Gaetano Donizetti and Felice Romani was the time in which it took to produce it--just two weeks. Considering the depth and breadth of this delightful comedy it is hard to imagine that it was simply thrown together in such a short amount of time. But to anyone who has ever heard the music, or seen this production live, I think it is safe to say that we are glad it was thrown together. I recently got my third opportunity to see this opera live in a remarkably creative production by Opera Philadelphia. Once again I was wholly impressed by Opera Philadelphia and their innovative means to usher in creativity and blend it with a variety of talent.
I must say that the most unique quality that Opera Philadelphia showcases in their productions is the ability to take beloved a opera story and present it in a contemporary setting, while still managing to capture the central image of the story. The original production was set during the early nineteenth century in a bucolic Italian village. This production, which was adapted from Santa Fe Opera pushed the timeframe ahead one century to the 1940's, around the time of the end of World War II. I am not always a fan of the modernize set design, but this addition really tended to add to the show. The mid-1940s began the age of consumerism, a time when automobiles became more abundant and billboards began popping up along interstates that connected small country villages.
As the curtain rose to begin this lighthearted opera, the sounds of Donizetti's remarkable Prelude whisked through the house, and the audience saw a gigantic billboard, displaying the title of the opera and depicting a rustic girl selling olive oil. The billboard served as both a focal point for the audience, as well as symbol for the power of persuasion. Throughout the opera, the backdrop of the billboard changed several times to illustrate a variety of mood changes. Billboards were a crucial development in the 1940's as they advertised the new commercialize society. In a way the Billboard provides us with a commercialized form of love that was showcased through this set design. Ashley Martin-Davis (set design), who made his Opera Philadelphia debut kept the village concept, but instead of having the nineteenth-century bumpkin who pines after the wealthy girl, in antique village, we have the local car mechanic, Nemorino played by the brilliant Dmitri Pittas, who gauzes at the extremely put-together local school teacher, Adina
Despite the time-change and a few of the other sequencing moves, the rest of the production pretty much stays true to the original. Adina still flirts with both Nemorino and Sergeant Belcore at the beginning of the opera, which sets off this hilarious undertaken of Nemorino to win her over. Sarah Shafer, who played Adina, did such an incredible job playing the hard-to-get, jealous lover. Her voice was candidly heard in the beginning as she told the school children of the story of Tristian and Isolde and the magic love elixir, which brought the two lovers together.
I must say that the most unique quality that Opera Philadelphia showcases in their productions is the ability to take beloved a opera story and present it in a contemporary setting, while still managing to capture the central image of the story. The original production was set during the early nineteenth century in a bucolic Italian village. This production, which was adapted from Santa Fe Opera pushed the timeframe ahead one century to the 1940's, around the time of the end of World War II. I am not always a fan of the modernize set design, but this addition really tended to add to the show. The mid-1940s began the age of consumerism, a time when automobiles became more abundant and billboards began popping up along interstates that connected small country villages.
As the curtain rose to begin this lighthearted opera, the sounds of Donizetti's remarkable Prelude whisked through the house, and the audience saw a gigantic billboard, displaying the title of the opera and depicting a rustic girl selling olive oil. The billboard served as both a focal point for the audience, as well as symbol for the power of persuasion. Throughout the opera, the backdrop of the billboard changed several times to illustrate a variety of mood changes. Billboards were a crucial development in the 1940's as they advertised the new commercialize society. In a way the Billboard provides us with a commercialized form of love that was showcased through this set design. Ashley Martin-Davis (set design), who made his Opera Philadelphia debut kept the village concept, but instead of having the nineteenth-century bumpkin who pines after the wealthy girl, in antique village, we have the local car mechanic, Nemorino played by the brilliant Dmitri Pittas, who gauzes at the extremely put-together local school teacher, Adina
Despite the time-change and a few of the other sequencing moves, the rest of the production pretty much stays true to the original. Adina still flirts with both Nemorino and Sergeant Belcore at the beginning of the opera, which sets off this hilarious undertaken of Nemorino to win her over. Sarah Shafer, who played Adina, did such an incredible job playing the hard-to-get, jealous lover. Her voice was candidly heard in the beginning as she told the school children of the story of Tristian and Isolde and the magic love elixir, which brought the two lovers together.
The lovesick Nemorino, who hangs onto every word of Adina in this opening scene wishes to find a love potion himself that will undoubtedly make Adina fall head-over-heels in love with him. When the quack doctor, Dulcamara (Kevin Burette) enters the village offering a panacea to all ailments, Nemorino pushes him to find the elixir of love. Doctor Dulcamara, a shrewd snakeoil-salesman, sells Nemorino a bottle of wine, which gives him the bravado to approach Adina. But Adina who notices this change in Nemorina, decides to make him jealous and flirts back with the bodacious sergeant, Belcore (Craig Verm). Belcore, who is only stationed in the hamlet for a brief period of time, insists that he and Adina marry at once, which creates the dilemma for Nemorino, who believes that he needs 24 hours for the potion to full kick into effect.
At the marriage ceremony, the whole village gathers for a big feast. The aforementioned billboard changes to a wedding announcement for Adina an Belcore, and Nemorino desperately attempts to delay the ceremony. Opera Philadelphia added another interesting aspect to this production, by staging the General Director and President, David Devan, as the local priest, who rides in on a motorcycle. Devan played the part in a Mr. Bean fashion, which just added to the humor of the opera.
When Dulcamara returns Nemorino desperately attempts to purchase more of the elixir, in order to prevent the woman of his dreams from marrying his rival. Nemorino, however, is out of money and in a last minute attempt to win over Adina, he enlists in Belcore's army because he will received money on the spot for joining the military. Unbeknownst to Nemorino, his rich uncle has just died, leaving him a fortune. It is at this point that the humor is really unveiled.
At the marriage ceremony, the whole village gathers for a big feast. The aforementioned billboard changes to a wedding announcement for Adina an Belcore, and Nemorino desperately attempts to delay the ceremony. Opera Philadelphia added another interesting aspect to this production, by staging the General Director and President, David Devan, as the local priest, who rides in on a motorcycle. Devan played the part in a Mr. Bean fashion, which just added to the humor of the opera.
When Dulcamara returns Nemorino desperately attempts to purchase more of the elixir, in order to prevent the woman of his dreams from marrying his rival. Nemorino, however, is out of money and in a last minute attempt to win over Adina, he enlists in Belcore's army because he will received money on the spot for joining the military. Unbeknownst to Nemorino, his rich uncle has just died, leaving him a fortune. It is at this point that the humor is really unveiled.
Nemorino rushs to Dulcamara to buy the love potion, while the rumor gets out regarding his uncle's death to all the village maidens. In his new army uniform and under the second potent dose of Dulcamara's elixir, Nemorino returns to town in his hotrod. He is bombarded by the bevy of young girls flirting with him because of his newfound wealth. Adina witnessing the love fest for Nemorino realizes that she truly does love him and becomes jealous and begins to cry.
Arguably the most famous aria from the Opera follows this dramatic scene, as Nemorino sings "Una Furtiva Lagrima" that one secret tear that moved him because he now sees that she does love him. Adina returns to beg forgiveness from Nemorino for playing hard-to-get and and with his feelings. Out of love, she bought back Nemorino's enlistment papers and promises to be true to him for life. They embrace and then are told of the fortune that Nemorino's uncle has left him. Naturally, Dr. Dulcamara, enters claiming the fortune and good luck to be the elixir of love, and relives the villages of their money for his special bottle of magic.
The aspects of modernizing this production to the 1940s work well because of the periodization. In the post World War II era, a lot of women dropped their rivets and went back to the cult of domesticity. The turn of the twentieth century brought a great change to women in society. Following World War I, as most of Western Civilization ushered in the right the vote for women. During World War II, women "manned" the factories and helped the war effort greatly. Post World War II, however, seemed to create a reversion to this progress and many women return to the home. Adina's devotion to Nemorino at the end of the opera constituted this theme well for the time setting. The finale, when she pledges her devotion and subservience to Nemorino, parallels the postwar era. I also believe that aspects of the modernization aided in the humor, such as when the village maidens, who got all spruced up to impress the newly rich Nemorino.
Once again, I was very much delighted by Opera Philadelphia's production of Elixir of Love. I am very much looking forward to the 42nd season, which begins this fall with Turandot. Bravo to the cast and crew and set design team for providing an elixir of creativity and gumption!
Arguably the most famous aria from the Opera follows this dramatic scene, as Nemorino sings "Una Furtiva Lagrima" that one secret tear that moved him because he now sees that she does love him. Adina returns to beg forgiveness from Nemorino for playing hard-to-get and and with his feelings. Out of love, she bought back Nemorino's enlistment papers and promises to be true to him for life. They embrace and then are told of the fortune that Nemorino's uncle has left him. Naturally, Dr. Dulcamara, enters claiming the fortune and good luck to be the elixir of love, and relives the villages of their money for his special bottle of magic.
The aspects of modernizing this production to the 1940s work well because of the periodization. In the post World War II era, a lot of women dropped their rivets and went back to the cult of domesticity. The turn of the twentieth century brought a great change to women in society. Following World War I, as most of Western Civilization ushered in the right the vote for women. During World War II, women "manned" the factories and helped the war effort greatly. Post World War II, however, seemed to create a reversion to this progress and many women return to the home. Adina's devotion to Nemorino at the end of the opera constituted this theme well for the time setting. The finale, when she pledges her devotion and subservience to Nemorino, parallels the postwar era. I also believe that aspects of the modernization aided in the humor, such as when the village maidens, who got all spruced up to impress the newly rich Nemorino.
Once again, I was very much delighted by Opera Philadelphia's production of Elixir of Love. I am very much looking forward to the 42nd season, which begins this fall with Turandot. Bravo to the cast and crew and set design team for providing an elixir of creativity and gumption!