This Otto Schenk L’elisir - together with Margarethe Wallmann’s Tosca - are two milestones in the State Opera’s bottom drawer which have been vehicles for the greatest of 20th century stars, and which seem destined to continue their illustrious record as ideal platforms for guest artists, while enjoying unyielding appeal among audiences over ongoing generations. In fact Tosca is scheduled to serve Anna Netrebko’s role debut in the State Opera this coming December.

Last-minute changes on this particular evening were to bring two familiar entities back to this production - with Bertrand de Billy returning to the work of his 1997 house debut, and Chinese tenor, Jinxu Xiahou again taking the tenor lead.

Role debuts in the house abounded among the remaining line-up - in addition to the State Opera debut of the South African soprano Pretty Yende.

This - the 256 performance of the Schenk classic - transpired to become an evening of extraordinary brio with de Billy pouring heart and soul into the score, while generally drawing a mirrored response from his cast, including a buoyant and focussed chorus (Dulcamara’s interaction with an elderly lady in his opening “salesman” scene was delightfully charming).

Firstly, mention of Opera Studio member, Johanna Wallroth, whose warm, well-projected soprano and enchanting demeanour as Giannetta point to an Adina - and more - waiting in the wings. 

After his long tenure in the house ensemble, Jinxu Xiahou requires no introduction - having sung Nemorino here more than a dozen times over the past six or so years, among many other parts. His artless charm, crisp open diction, and seamless register balance never fail to win - and, in customary form, his closing moments in "Una furtiva lagrima" were again a showcase for an immaculate messa di voce to crown the aria.

Oddly missing in a truly vast range of roles since joining the Company in 2005, Belcore now joins the stable of Clemens Unterreiner’s achievements in the house. The role fits him like a glove, with his dapper appearance, broad-ranged nutty baritone, and the flair to send up the figure with unabashed elan. Bravo!

In grand scale, Nicola Alaimo (the Belcore in this production in 2012) has ripened into a larger-than-life Dulcamara, filling - indeed claiming - the stage with rich reserves of tone, grand personality, finesse and precision in intonation and execution.  These boards (and I) have seen memorable Italian (bass) baritones such as Taddei and Panerai here in the role. They arguably have found a successor.

After all these accolades, it’s disappointing to have to record a less exciting showing by the guest star of the evening, Pretty Yende.

YouTube is full of excerpts of both live recitals and operatic performances testifying to the South African soprano’s success in recent years with full vocal and histrionic commitment displaying a sweet vocal timbre and an engaging personality. 

However, this evening saw an Adina somehow detached from her associates and rather laissez faire in energy and demeanour. When not fully engaged, her lightweight soprano often lacks the core and presence to transport adequately across the footlights - with only passages in its upper octave revealing moments of luscious velvet tone, and with rather lacklustre scale work further dampening the show. In the opera's final scene, "Prendi, per me sei libero" ignited and lent a touching highlight to the reading.  Hopefully just an off-night, with a new challenge scheduled in March when Yende returns to Vienna for her first Violetta in La Traviata.