As Portland Opera prepares for a nine-month performance drought in its transition to a spring/summer festival format, it winds up this season with a bang. Gaetano Donizetti's "The Elixir of Love," which opened Friday and runs through Aug. 1, capitalizes on all the humorous potential of the piece in a tightly directed, exquisitely sung and sharp-looking show -- or as the language of the libretto might have it, an all-fired rootin'-tootin' hootenanny.
The show seamlessly translates the setting to the Old West, a natural choice because one of the central roles is that classic Western stock character, the snake oil salesman. Director Ned Canty first staged the concept at Michigan's Pine Mountain Music Festival a dozen or so years ago, when Portland Opera's general director Christopher Mattaliano was artistic director there, then elaborated on it two years ago at Opera Memphis. Portland Opera engaged Curt Enderle to re-design the scenery (a nameless town) and used Christianne Myers' costumes from Opera Memphis. Canty's own translation of the libretto applied the final Western touch, with such turns of phrase as "all hat and no cattle" and "What in the Sam Hill is going on?"
"Elixir" is mostly a frolic -- like a Judd Apatow rom-com, it's breezy, with an ironic bite and a sweet finish -- but this production is one the company can be proud to present as the conclusion of its 50th season.
Highlights: The attractive sets, lit brightly with an occasional flourish by Don Crossley, project well into the Newmark's smallish stage to create an intimate space full of detail. Canty maneuvered the players around it deftly, with plenty of visual humor and never a dull moment, and Nicholas Fox led the music with keen pacing. From leads to chorus, the singing was solid and crisp throughout, finely focused but relaxed.
Low notes: The Newmark's sound surpasses that of the Keller Auditorium, but with the size and configuration of the pit, the orchestra sounded thin.
Most valuable performer: This season marks not just the 50th anniversary of Portland Opera but also the 10th anniversary of its resident artist program, and "Elixir" featured three current and past members. First among them was Matthew Grills in the central role of Nemorino, the naif who spends his last nickel on the titular love potion (actually, cheap wine). His firm voice was warm and assured, with beautiful support legatos and sensitive phrasing, and his comic timing was impeccable. He played the part like Buster Keaton, with a shy, retiring presence, and he looked like him too, with the deadpan expression and sad eyes that made Keaton poignantly funny.
As his love interest, Adina, resident artist soprano Katrina Galka looked like a young Glenn Close, projecting power over Nemorino as she thrilled with fine coloratura filigree and pure high notes. Fellow resident Alexander Elliott lent a supple, powerful baritone and an appropriately arrogant tone as Nemorino's rival, the army sergeant Belcore. Steven Condy was a magnificent Dr. Dulcamara, combining vocal agility and broad physical comedy in a role he has honed well, and regular chorus member Valery Saul charmed in the smaller role of Gianetta.
Moment of the night: The one everyone waits for is Nemorino's aria, "Una furtiva lagrima" (a furtive tear), and Grills knocked it out of the park -- it's arguably the emotional turning point of the opera, and his sincerity was convincing. That said, the vocal chemistry was great overall, so every scene had its moments.
Repeats: 2 p.m. Sunday, Thursday, Jul. 25, Jul. 30 and Aug. 1.
Tickets: from $25, 503-241-1802 or portlandopera.org
-- James McQuillen