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 Donizetti's L'elisir d'amore

 

Royal Opera, London,  May 27 - June 22, 2017

Photographs by Bill Cooper, courtesy of the Royal Opera

This production was first seen in London in 2007. It was its fourth revival and featured three different casts. Russell Burdekin saw the Yende/Magri/Bordogna line up on June 11.

 

Pretty Yende, on her debut, came with quite a level of expectation, which she fully lived up to with some nicely chosen and executed decoration to round off a well acted and sung Adina.  June 11 was Ivan Magri's only performance and he did well to slot in so smoothly  into an already running production.  His singing did not let the production down but was not particularly memorable or beautiful. Paolo Bordogna was a lively Belcore, perhaps a bit too lively on occasion when he hammed things up on stage distracting from the main focus of the action. My main reservation was the Dulcamara of Alex Esposito. Unusually he played it as a much younger man than the traditional Doctor, more spiv than charlatan, and did it very well but his personality rather overlapped with that of Belcore; you felt that they might almost have swapped roles and that seemed to me to narrow the appeal of the opera.

 

Perhaps over the years the action has become a little more frenetic and the humour a tad more slapstick, no doubt as successive revival directors have tried to add something to what is proving a very serviceable production. However, what came over most strongly was that the cast seemed to be enjoying themselves and that certainly communicated itself to a happy audience.

 

Mainstream media reviews, which were based on the Nemorino of Liparit Avetisyan were very positive, particularly about him "Avetisyan’s sweet bel canto remains flawless no matter how much he hurls his india-rubber limbs about: I’ve never seen a funnier Nemorino" (Michael Church, The Independent, May 29, 2017) . William Hartson    (The Express, May 29, 2017) wrote that "Anyone who thinks they like musicals ought to come to Donizetti’s L’Elisir d’Amore and see how musical fun ought to be accomplished". 

 

Roberto Alagna and Aleksandra Kurzak take over for the final four performances together with Adam Plachetka as Belocore.

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The Team 

Adina - Pretty Yende / Aleksandra Kurzak 

Nemorino - Liparit Avetisyan / Ivan Magri / Roberto Alagna

Belcore - Paolo Bordogna / Adam Plachetka

Dulcamara - Alex Esposito

Giannetta - Vlada Borovko

 

Conductor  - Bertrand de Billy

Stage Director  and Costume Designer - Laurent Pelly

Revival director - Daniel Dooner

Set Designer  - Chantal Thomas

Lighting designer  - Joël Adam

 

Chorus and Orchestra of the Royal Opera House

 

Yende, Avetisyan and Bordogna are the Adina, Nemorino and Belcore in the photographs

 

 © ROH. PHOTO BILL COOPER

Giannetta, Nemorino and village girls

 

 

 

 

© ROH. PHOTO BILL COOPER

Adina

 

 

 

 

© ROH. PHOTO BILL COOPER

 Adina and Belcore

 

 

 

 

© ROH. PHOTO BILL COOPER

Adina, Nemorino and Belcore

 

 

 

 

© ROH. PHOTO BILL COOPER                                                      

Dulcamara

 

 

 

 

© ROH. PHOTO BILL COOPER

 Adina and Nemorino

 

 

 

 

© ROH. PHOTO BILL COOPER

 Belcore, Dulcamara and Adina

 

 

 

 

© ROH. PHOTO BILL COOPER

Nemorino and Dulcamara

 







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