With this Elisir at the ROH, Paul Higgins revived the lively 2006 production by director Laurent Pelly. The scene was set in a rural Italy of the 1950s; the scenes by Chantal Thomas showed the threshing floor of a farm at harvest time: in the center a pyramid of hay bales on which the protagonists, supporting actors and choir artists went up and down.

All characters and the choir moved around naturally at a lively pace, with funny gags that were much appreciated by the London audience, who in fact laughed heartily. The choir of the Royal Opera House deserves special praise both for the singing and for the active participation in the joyful concept put up by Pelly. Against the backdrop of freshly harvested fields, there were mopeds, Lambrettas and bicycles going around until the entrance of the ramshackle truck-bazaar of Dulcamara. A scenic picture of extreme precision and contagious liveliness.

The cast was up to the mark: Liparit Avetisyan is at complete ease as the candid, gullible Nemorino. He expresses his love for Adina more and more, until finally, with one of the most known arias in all opera, “Una furtiva lagrima,” he manages to change Adina’s feelings towards him.

Nadine Sierra sang beautifully and spontaneously as Adina. She interpreted the role in perfect bel canto style, with light and elegant phrasing, a voice with a clear timbre and ringing high notes, not to mention brilliant acting in the solo numbers and in the duets with Nemorino and Belcore. First disillusioned in "Della cruel Isotta", then with a voluble attitude in her duet with Nemorino "Chiedi all'aura lusinghiera", she finally surrenders and  falls in love for the young man in the aria "Prendi, per me sei libero": she sang with clear technique and with an enchanting and never gratuitous coloratura.

Boris Pinkhasovich was Belcore, bold enough to affirm his character, and exhibited a robust baritone and an admirable stage presence, from the cavatina “Come un Paride vezzoso”. Bass Bryn Terfel was an all-round impostor Dulcamara, without failure of conscience. His “I am rich and you are beautiful” draws much applause. Both supporting actors managed to enthuse the audience. Aslo worth mention is Sarah Dufresne, who sang the minor role of Giannetta.

The Italian conductor Sesto Quatrini showed a deep understanding of Donizetti's score, both in terms of the relationship between voices and orchestra, and for his care of the expressive features. Quatrini highlighted the rhythm and fun of the score, bringing out every single comic detail with clarity and finely carved tempos, also highlighting the lyrical moments, as he kept everything coherently together, well supported by a sparkling orchestra.