Broadcast

Metropolitan Opera Broadcast: L'Elisir d'Amore 

Radio Broadcast of Saturday, March 31, 1:00 P.M.

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As Dulcamara exits the piazza in his golden coach, all celebrate the betrothal of Nemorino and Adina (Giordano, Gheorghiu,
Franco Vassallo as Belcore, Alaimo).

© Johan Elbers 2012
The 2011–12 Metropolitan Opera broadcast season is sponsored by 
Toll Brothers, America's luxury home builder®,
with generous long-term support from 
The Annenberg Foundation and 
the Vincent A. Stabile Endowment for Broadcast Media, 
and through contributions from listeners worldwide.

L'Elisir d'Amore  

Music by Gaetano Donizetti
Libretto by Felice Romani

 

THE CAST  (in order of vocal appearance)
Giannetta     soprano, LAYLA CLAIRE
Nemorino     tenor, JUAN DIEGO FLÓREZ
Adina     soprano, DIANA DAMRAU
Sgt. Belcore     bar., MARIUSZ KWIECIEN
Dulcamara     bar., ALESSANDRO CORBELLI

Conducted by Donato Renzetti

The Metropolitan Opera Orchestra
The Metropolitan Opera Chorus

Production: John Copley
Set and costume designer: Beni Montresor
Lighting designer: Gil Wechsler
Stage director: Stephen Pickover
Chorus master: Donald Palumbo
Musical preparation: Jane Klaviter,
     J. David Jackson, Joshua Greene,
     Jonathan Kelly
Assistant stage director: Daniel Rigazzi
Stage band conductor: Gregory Buchalter
Recitative accompanist: Joshua Greene
Prompter: Jane Klaviter
Italian coach: Gildo Di Nunzio

Production a gift of the Annie Laurie
     Aitken Charitable Trust

Additional funding from
     The William T. Morris Foundation

Revival a gift of The NPD Group, Inc.
THE SCENES    Timings (ET) 
  (A small Italian village, 19th c.)  
ACT I   1:00–2:15
      Sc. 1 Adina's farm  
      Sc. 2 The village piazza  
ACT II   2:47–3:40
      Sc. 1 The pre-wedding feast  
      Sc. 2 The piazza  
      Sc. 3 Adina's farm  
      Sc. 4 The piazza  

Host: Margaret Juntwait
Commentator: Ira Siff
Music producer: Jay David Saks
Producers: Mary Jo Heath, Ellen Keel,
     William Berger
Executive producers: Mia Bongiovanni,
     Elena Park

For more information on the broadcasts,
     please visit www.operainfo.org.

Send quiz questions to
     Metropolitan Opera Quiz
     Metropolitan Opera
     30 Lincoln Center
     New York, NY 10023
     or e-mail metquiz@metopera.org.

This performance is also being broadcast
     live on Metropolitan Opera Radio
     on SiriusXM channel 74.

THE STORY 

ACT I. Adina, wealthy owner of a local farm, her friend Giannetta and a group of peasants are resting beneath a shade tree on her estate. Nemorino, a young villager, watches from a distance, lamenting that he has nothing to offer Adina but love. The peasants urge their mistress to read them a story — how Tristan won Isolde's heart by drinking a magic love potion. Sgt. Belcore swaggers in with his troop. The soldier's conceit amuses Adina, but he is not dissuaded from asking her hand in marriage. Promising to think the offer over, she orders refreshments. When Adina and Nemorino are left alone, she tells him his time would be better spent looking after his ailing uncle than hankering after her, for she is fickle as a breeze .

In the town piazza, villagers hail Dr. Dulcamara, who enters in a magnificent carriage that proclaims the patent medicine he is selling. The quack declares his potion capable of curing anything. Since it is inexpensive, the villagers buy eagerly. When they have gone, Nemorino asks Dulcamara if he sells the elixir of love described in Adina's book. Pulling out a bottle of Bordeaux, the charlatan declares this is the very draught. Though it costs him his last cent, Nemorino buys the wine and hastily drinks it. Adina enters to find him tipsy; certain he will win her love, he pretends indifference. To punish him, Adina flirts with Belcore, who, informed that he must return to his garrison, persuades her to marry him at once. Horrified, Nemorino begs Adina to wait one more day, but she ignores him and invites the entire village to her wedding feast. As the peasants shout taunts , Nemorino rushes away, moaning that he has been ruined by Dulcamara's elixir.

ACT II. At a tavern, the pre-wedding supper is in progress. Dulcamara sits with the bride and groom. Adina is disappointed that Nemorino is not there to witness her happiness. The doctor suggests they blend their voices in a barcarole about a gondoliera and her wealthy suitor. Adina then goes off with Belcore to sign the marriage contract; the guests disperse. Remaining behind, Dulcamara is joined by Nemorino, who begs for another bottle of elixir; his pleas are rejected because of lack of funds. Belcore returns, annoyed because Adina has postponed the wedding until nightfall; spying Nemorino, he asks why the youth is so sad. Nemorino explains his financial plight, whereupon the sergeant persuades him to join the army to receive a bonus. Belcore leads Nemorino off to sign him up, enabling him to buy more elixir.

In the square, peasant girls learn from Giannetta that Nemorino's uncle has died and willed him a fortune. When he reels in, giddy from a second bottle of wine, they besiege him with attention; unaware of his new wealth, he believes the elixir has taken effect. Adina and Dulcamara arrive in time to see him leave with a bevy of beauties, and she, angry that he has sold his freedom to Belcore, grows doubly furious. Scenting a new sale, Dulcamara claims that Nemorino's popularity is due to the magic elixir. Adina replies that she will win him back through feminine charms. Reentering alone, Nemorino takes heart because of a tear he has seen on Adina's cheek, but when she appears, he feigns disinterest. She confesses she bought back his enlistment papers because she loves him.

Back in the piazza, Belcore marches in to find Adina affianced to Nemorino; declaring that thousands of women await him, he accepts the situation philosophically. Attributing Nemorino's happiness and inheritance to the elixir, Dulcamara quickly sells more bottles before making his escape.

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As Giannetta, Nemorino and a group of peasants listen, the wealthy landowner Adina reads aloud the story of how Tristan won the heart of Isolde by drinking a magic potion (Ying Huang as Giannetta, Angela Gheorghiu as Adina, Massimo Giordano as Nemorino)
© Beth Bergman 2012 

THE BACKGROUND 

Gaetano Donizetti, who was born in Bergamo in 1797 and died there in 1848, ranks with Rossini and Bellini as one of the triumvirate of great Italian bel canto opera composers of the first half of the nineteenth century. He was so prolific in setting both comic and serious subjects that the exact total of his operas is unknown (biographers say "about seventy"), yet until recently only a few (Lucia di Lammermoor, Don Pasquale, La Fille du Régiment and L'Elisir) have stayed in the repertory.

The wealth of melody and fun in Elisir makes it seem incredible that Donizetti wrote the score in only six weeks. Midway in his twenty-year span of productivity, the composer was given a commission by the manager of the Cannobiana, a Milanese theater, and his contract stipulated an early deadline. Hard put for a subject, Donizetti called upon the reliable versifier Felice Romani, who had supplied Bellini with La Sonnambula and Norma the previous year. Romani decided to modify Le Philtre, a French comedy by Eugène Scribe, which already had been set to music by Daniel-François Auber; such borrowing was common at the time. The immediate popularity of the result surprised Donizetti, who had no expectations for the premiere (May 12, 1832).

The ex-lawyer Romani had chosen well, for his characters offered a synthesis of sympathetic if two-dimensional types found as far back as the comedies of Plautus — the braggart soldier, the simple country boy, the coquettish girl who matures into a woman of feeling. L'Elisir d'Amore emerged as a work of amiable humor, save for the pensive "Una furtiva lagrima," dashed off in an hour when the composer was suffering a severe headache. American audiences have enjoyed the score since June 18, 1838, when it was introduced in English at the Park Theater in New York. The Met premiere (Jan. 23, 1904) starred Sembrich, Caruso and Scotti. The Met's current production, staged by John Copley, bowed on October 24, 1991. Luciano Pavarotti and Kathleen Battle were Nemorino and Adina. 

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Nemorino and Adina (Giordano, Gheorghiu)
© Johan Elbers 2012

WHAT TO READ AND HEAR 

Charles Osborne's Bel Canto Operas of Rossini, Donizetti and Bellini (Amadeus) places the composer of L'Elisir d'Amore in the context of his era; a user-friendly guide to the composer and his oeuvre is William Ashbrook's Donizetti and His Operas (Cambridge).

Nemorino was one of Luciano Pavarotti's signature roles, and he is heard to brilliant effect on Richard Bonynge's 1970 Decca recording, opposite Joan Sutherland's somewhat starchy but authoritative Adina. The tenor is no less ebullient pursuing Kathleen Battle's piquant heroine in his DG recording, with the forces of the Metropolitan Opera led by James Levine. Much of the gala atmosphere that imbues John Pritchard's Covent Garden performance (Sony) comes from the incomparable Geraint Evans as Dulcamara. The vintage Italian flavor of Margherita Carosio's Adina and Tito Gobbi's Belcore enlivens Testament's 1952 Elisir; Andrew Shore is a boisterous Dulcamara on David Parry's English-language Elixir (Chandos).

On DVD, Rolando Villazón and Anna Netrebko are in superb form in a 2005 Elisir from Vienna, conducted by Alfred Eschwé (Virgin). Pavarotti, Battle and Levine bring their star power to a 1991 telecast of the Met's current production (DG); Pavarotti woos Judith Blegen in a 1981 performance of the Met's previous Elisir, designed by Robert O'Hearn, in which Dulcamara — sung vividly by Sesto Bruscantini — makes his entrance in a hot-air balloon (Decca). Roberto Alagna and Angela Gheorghiu, paced by Evelino Pidò, offer neat teamwork in a Lyon performance (Decca). Renata Scotto is a glowing Adina, Carlo Bergonzi an endearing Nemorino, in a 1967 Elisir from Florence (Hardy Classics; also Opera d'Oro CD). spacer 

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