Review: L'ELISIR D'AMORE at Union Avenue Opera

Run, don’t walk, to see Union Avenue Opera’s L’elisir d’amore!!

Well, it worked on me!  L’elisir d’amore (The Elixir of Love) opened last Friday at the Union Avenue Opera  and after only a sip or two I fell head over heels for it.  At the end of the evening I was, like Nemorino, giddy (oh, let’s admit it, the better word is “drunk”) with happiness and delight.  It was simply perfection!

This charming and quite wonderful production is perhaps the most perfect offering in the company’s splendid thirty-two year history.   I can’t remember ever seeing such uniformly magnificent singing in all the principal roles of an opera.

Gaetano Donizetti’s bel-canto confection of comic romance would be the perfect thing for one’s first experience with opera:  sweet and funny, light-hearted, even silly, but with touching moments of sentiment.  It’s musically gorgeous but accessible. 

In 1832 Donizetti wrote this piece in less than a month under contract to a theatre in Milan.  (They were in a panic because the previously contracted composer had failed to deliver.)  It was a resounding success, and has remained in the repertoire ever since.  (The latest statistics show it to be the thirteenth most frequently produced opera in the world.)

We find ourselves in an 18th century Basque village.

 Adina, a lovely young woman, is a landowner “of easy circumstances.”  She is adored by Nemorino, a young man of “comely appearance, but small means”.  She is secretly enamored of Nemorino, but until now she has carelessly dismissed his professions of love. 

Two charismatic strangers disturb the equilibrium of the village: Recruiting Sgt. Belcore, who has come seeking enlistees for the army (and beautiful girls for himself), and Dr. Dulcamara, a charlatan snake-oil salesman.  Belcore, the classic miles gloriosus, brags about his many feminine conquests, and sets his eye on Adina.  Dr. Dulcamara hucksters his patent medicines.  The desperate Nemorino buys the doctor’s love potion.  This, the doctor claims, will make every woman fall in love with Nemorino (though it’s really just cheap wine).

Set Designer Laura Skroska gives us a perfect little Basque village—tile-roofed houses, a balcony, a small fountain, forest trees against a blue sky in the background.  Vines and flowers abound.  It’s all  done with the simplicity of a folk tale.  A swing at one side is a lovely touch that offers gentle movement and a subtle sense of playfulness. 

Congratulations to costumer Teresa Doggett, who is in her twentieth season with Union Avenue Opera.  As always her work is superb.  The village maidens wear peasant blouses, brightly embroidered corsets, and long skirts with bright print aprons—all in a delicious variety of happy colors.  Atop each head is a quaint flat-topped white headdress. 

When Charles Calotta sang Freddy Eynsford-Hill in Union Avenue’s My Fair Lady last season I said, “I would love to see Mr. Carlotta in a leading role.”  Thank you, Union Avenue Opera, for so promptly fulfilling my wish.  Carlotta brings a rich, powerful vocal beauty to the role—plus a handsome face, a physical grace, and a personal charm that totally wins us. 

 Kyaunee Richardson, as Adina, dazzles us with a voice that is pure and agile.  It climbs to the heights with silvery smoothness, yet can be beautifully warm.  She’s slim and girlish, but has a strikingly large voice capable of all those bel-canto decorations.  And very brightly expressive eyes.

John Robert Green—a large and powerful man—fills Dr. Dulcamara with a great boisterous basso voice.  He merrily commands the stage.  It’s a quite delightful performance.

 Junhan Choi sings Sgt. Belcore with great panache and a surprisingly powerful baritone.  His entry is nothing less than a one-man parade.  Decked in a blue tunic, shiny boots and buttons, gold epaulets and a feathered tricorn he is a story-book toy soldier marching (almost prancing) in. 

 We’ve often been impressed with soprano Leann Schuering.  Here she sings the supporting role of Giannetta, and fills her with bright charm.

Veteran Stage Director Jon Truitt once again shows a graceful skill in placement, movement, and pace—and in finding every laugh and every touching moment in this tale.

Donizetti’s L’elisir d’amore (The Elixir of Love) plays at the Union Avenue Opera through August 1.

Reader Reviews

To post a comment, you must register and login.

Don't Miss a St. Louis News Story
Sign up for all the news on the Summer season, discounts & more...