Among so many weighty and earnest productions around today, it seems almost like an act of rebellion for Glyndebourne to return with such a stubbornly joyous and light-filled production of Donizetti’s L’elisir d’amore time and time again. Clearly it’s a great crowdpleaser and Annabel Arden’s staging has been packing them in since its first performance at the Glyndebourne Tour back in 2007. Yet it still feels fresh and full of life, receiving a great reception once again at this year’s main festival. Here it is once again, though sadly not going out on the road, since the Glyndebourne Tour became one of the many casualties of ACE’s ill-advised – and frankly unfathomable – cuts. So much for levelling up!
Donizetti’s simple, comic tale of unrequited – then finally requited – love, with a side order of mischief and love potion (or not, although who’s to say how many love affairs have not been given a helping hand by a bottle of red) is updated in this production to the mid-20th century. There is just one fixed set throughout, later adorned with unfussy yet effective lighting, but there is plenty of colour in the costumes and Dr Dulcamara’s cart of wares. The single setting makes perfect sense and, as a result, we are immediately drawn into this small yet vibrant world.
As Nemorino, Filipe Manu was perhaps already comprised in Act 1, with a noticeable catch, particularly at the top of the range, but he delivered the part well despite this, with playful and engaging naivety. After an extended interval we were informed that for Act 2, his understudy would sing the role from the side of the stage, while Manu would continue to act. Rhys Batt was watching the performance from the auditorium so was able to step in for his Glyndebourne debut, and a triumphant debut this proved to be. He managed the difficulty of dovetailing his singing with the performers on stage, although with a slightly weightier voice than Manu’s, it took a while to adjust to the switch. But once settled in, the Nemorino ‘team’ carried us through the second act remarkably convincingly, and his “Una furtiva lagrima” was astonishing.
Mariam Battistelli’s Adina was light and playful, her tone was clear and bright throughout, although she could have conveyed a little more of Adina’s defiance. Theodore Platt’s Belcore was rich yet also comic with a light touch, but again, there could be a little more swagger to his arrogant declarations of conquest. Tiziano Bracci as Dr Dulcamara showed us comedy in his rapid patter, as well as touching emotion, as it is he who finally convinces Adina of her real love. Maxime Nourissat was in danger of stealing the show at times as his assistant, playing the fool with perfectly timed pratfalls and comic asides, even managing a cheeky aside to Batt at the edge of the stage, thankfully not putting him off his stride. And Ffion Edwards delivered a fine debut as Giannetta, raising the role above bit part level with presence and fine singing.
In Act 1, some of Donizetti’s complex patter ensembles felt slightly on the edge of falling apart, so didn’t have the relaxed perfection that other teams have achieved. Yet despite the challenges of negotiating two Nemorinos, ensemble seemed tighter in the second act. Adam Hickox did a fine job keeping things on track, and the orchestra shone with some particularly fine wind playing. The chorus were in fine form, but the women deserve special mention for their comic ensemble in Act 2, shifting from their drunken entry to competitive avarice when they learn of Nemorino’s newly acquired wealth.
As always, this production delivered just the right combination of comedy and emotion and, with fine solo and chorus singing throughout, left the audience with a warm glow on a cold November evening. It is sad to note that audiences in other parts of the country won’t be able to share this experience.
