Review: ELIXIR OF LOVE at Houston Grand Opera

You might think that Gaetano Donizetti's comic opera THE ELIXER OF LOVE an unusual choice for a season opener. The two-act romance is often thought of as bordering on operetta, and not in the running with true operatic fare. Donizetti himself boasted that he wrote it in tw0 weeks as a last-minute replacement piece, but then he often bragged of his proficiency in tossing off an opus almost as an afterthought. It may be true, but probably not. In any case, it doesn't show. It is true that the libretto is sparse, even simplistic, but a lot happens musically that makes up for plot.

Briefly, this is the story. Nemorino (Dimitri Pittas), a ne'er-do-well youth, is hopelessly in love with the beautiful Adina (Nicole Heaston), a haughty tease who won't give him a tumble. Enter Belcore (Michael Sumuels), a pompous and bombastic captain, who goes for Adina in a big way. Adina flirts back outrageously, and when Belcore asks her to marry him, she doesn't say yes and she doesn't say no. Nemorino is consumed by jealousy. Prodded by what he sees as Belcore's success, he gets up the nerve to profess his love to Adina and ask for her hand. She lightly turns him down.

The next character introduced is Doctor Dulcamara (Patrick Carfizzi), a traveling snake oil salesman, with potions for every ailment. Nemorino asks him if he has a magic elixir that will make Adina love him. The good doctor does, and sells him a bottle of cheap wine, telling the credulous Nemorino that it won't work for twenty-four hours, by which time the doc will have made his escape.

Nemorino, not a tippler, drinks the entire bottle, and, feeling no pain, decides to treat the indifferent Adina to some of her own medicine, pretending to ignore her. Of course, this immediately annoys Adina, and in a fit of pique she agrees to marry Belcore.

The action takes a turn when the Captain receives his orders to return to duty the following morning, and the nuptials are pushed up to that very evening, leaving no time for Nemorino's potion to work. He begs Adina to wait, but she is determined to go through with it.

The villagers, always up for a party, begin preparations for the celebration, and our hero is in despair.

A great deal happens in the second act. The wedding party really gets going, with the villagers eating, drinking, dancing and singing, but Adina notices that Nemorino isn't there, and not wanting to lose her chance of publically slighting him, decides to wait until he gets there. Nemorino, meanwhile, has gone to find the doctor for another dose of elixir. Not having the money to pay for it, he makes a deal with Belcore to enlist for the bonus. While all this is transpiring, Aldina's friend Gianetta (Alicia Gianni) hears that Nemorino has inherited a fortune from his uncle. The news spreads like wildfire among the women of the village, who suddenly see Nemorino in a new and attractive light. Naturally, Nemorino, finding himself pursued by a bevy of village beauties, is convinced that the elixir has worked. I told you a lot happens in the second act.

Adina, true to form, sees that she might lose Nemorino, declares her love for him. She has paid Belcore for the recruitment bonus, and when they learn of the inheritance, their happiness is complete.

ELIXIR was written in 1832, and was of its time. What is special about this production is its setting, on the Amalfi coast of Italy, in the 1950s. This allows for some nostalgia, a little distance from the story, and adds a piquant tone to the proceedings. Director Daniel Slater, with the able assistance of Robert Innes Hopkins, set and costume designer, has taken full advantage of this conceit, and has given us a bright and colorful milieu in which to watch the action, a feast for the eyes as well as the ears. Simon Mills' lighting design makes it complete.

The set looks like a mid-century Italian travel poster, and when populated by the villagers in their impeccable 50s clothes, the illusion is brilliant.

Nicole Heaston's Adina is portrayed as an independent woman, owner of a hotel, and while she is still basically somewhat shrewish, she softens it with wit, and her clear soprano takes The Edge off a little. ADINA is not a completely sympathetic character, but she wins us over.

Dimitri Pittas is bumbling and painfully earnest as the lovelorn Nemorino, and I found myself getting rather impatient with his doggedness. He could do better than the self-absorbed Adina, but that's love, I guess. His performance of the opera's lovely Bel Canto aria, "Adina, credimi" is quite affecting, and his comic turns are a delight. The "Una furtiva Lagrima", always an audience favorite, does not disappoint, and his soaring tenor carries the house.

Michael Sumuels is all bravado and bluster as the pompous blowhard Captain Belcore. From his entrance, riding a motor scooter onto the piazza, he fills the stage and impresses everyone in sight, especially the females. He's a take-no-prisoners kind of guy, and Samuel's powerful bass-baritone backs it up.

And speaking of entrances, Patrick Carfizzi's is a stand-out. As the nefarious Dr. Dulcamara, he appears overhead in a brightly-colored hot air balloon, alighting among the villagers in the piazza, to the delight of one and all. His carnival barker delivery and outrageous claims take everyone in, especially Nemorino, and he does a brisk business. His duet with Nemorino is musically adept.

Rounding out the cast of principles is Alicia Gianni as Adina's friend Giannetta, delightfully earthy, and not above advancing her own agenda. Her discovery, by "accidentally" opening a telegram meant for Nemorino announcing his inheritance, is pure musical comedy.

Just the name, "Donizetti", pronounced properly in Italian, with a heavy accent on the third syllable, conjures up the lilting quality of his music. It sparkles; it flows; it takes the listener wherever the composer wished him to go. It is his particular genius.

THE ELIXIR OF LOVE is a raucous and romantic evening of opera, and a great way to begin a season.

There are three remaining performances of THE ELIXIR OF LOVE, October 26, October 29, and November 4. All performances are at 7:30 pm. Sung in Italian with projectEd English translation. 2 hours, 36 minutes with one intermission.

For tickets: https://www.houstongrandopera.org/box-office

Photo Credits: Lynn Lane

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