On Feb. 1, the Metropolitan Opera presented Donizetti's "L'Elisir D'Amore" for the final time in the 2013-14 season. The performance was also the last time that soprano Anna Netrebko will play the heroine Adina for an audience; Netrebko herself made the announcement via social media on Sunday.
The revival of the work featured Bartlett Sher's production that opened the 2012-13 season. This writer attended a performance during the 2012-13 season and wrote an extensive analysis of the production (to read it, click HERE). There is really nothing new to add, except for the fact that it still does not work. Most of the new cast members added their own individual touches (more on that later), but the overall concept and idea of the production is still rather bland. The sets are traditional and mostly handsome, but the action is poorly delivered conceptually. A scene change in the middle of act two is not only awkwardly handled (extras walking onstage and pushing scenery on and off) but also excessively distracting to the action taking place between the main characters. In the final analysis, one is left wondering why the Met removed one traditional production (admittedly with little to say) for another that is equally vapid.
I will endeavor to keep the negativity down on this particular review (if you want harsh words, check out the Rusalka review) because production aside, everything else was wonderful. Leading the way as the hero Nemorino was tenor Ramon Vargas. The Mexican had been ill during the last few performances, but still gave it his best on Saturday. And by best, I mean best. Vargas rarely showed any signs of vocal or artistic discomfort and dominated the stage in a way that few others can. His Nemorino is a rather awkward creation in the opening scenes. During the prelude he walked from stage right to left, then turned around, and then turned around once more; his indecision made him seem like a hero of "twists and turns." During the opening sections, he seemed a bit out of place; his random frolicking and skipping combined with overzealous facial expressions to create a odd man indeed. It really made Nemorino's "innocence (or stupidity depending on your take)" come to fore and create a realistic portrait of an outsider learning to come into his own. As the night progressed, Vargas seemed to tone down on the mannerisms, creating a portrait of a man looking more and more poised on stage. This does not mean that he did not have a ton of fun. Nothing could be more exciting than watching him walk about drunk onstage or even his phallic gestures with a gun. His final scene with Netrebko was unforgettable as the two seemed to play a game of emotional hide-and-seek. Vargas would look over at her when she had her back turned and then would immediately look away the moment she looked over at him; the soprano would also engage in the same behavior, adding to the tension and fun of the moment.
Vocally Vargas was wondrous. His opening aria was delivered with ardency and urgency; one immediately got the sense that Nemorino was in distress. His emphasis on the words "idiota" and "sospirar" also suggested Nemorino's lack of confidence. The pezzo concertato is initiated by the tenor's mournful lines "Adina Credimi" were heart-breaking; Vargas' voice nearly wept as he implored for his beloved's wedding to be postponed. The second act's "Una Furtiva Lagrima" was compelling in its propulsive pace and tempo. The final lines "Si puo morir" are often delivered slowly; almost an introspective gesture in some performances. However, Vargas really drove them one after another with all the power of his voice, adding an excitement and urgency for the listener that is rarely heard in this particular aria.
Nicola Alaimo was terrific as Belcore, taking advantage of his surroundings at every moment. His entrance indicated that this was a man so full of himself that he has lost a sense of proportions. He stares at Adina's rear in one moment as if deciding whether she is worth courting. He attempts to fondle her breasts in another. And when he realizes that she is not that easy, he tries to domesticate her viciously. The wonderful thing about this performance is that there is no attempted to be over-bearing in the character's viciousness or aloofness; Alaimo manages to strike a balance that keeps Belcore real and fun at the same time. His voice was of tremendous help in this regard as well as the baritone sounded extremely confident. At one point in his opening aria "Come Paride Vezzosso" he interpolated a thrilling high-G that is rarely ever introduced in most performances.
Uruguayan bass Erwin Schrott arguably stole the show as the scheming Dr. Dulcamara. Or should we call him Captain Jack Sparrow. From the moment he entered the stage, Schrott's Dulcamara not only looked like Johnny Depp's iconic character, but also behaved like him. He was spastic in his movements and usually off-kilter. He interacted with the world around him like no other; flirting with chorus members, feeding them in the second act, whistling before he uttered the words "Senator." He was even a blast to watch in one scene where he inspected the wine bottle to see if it really had magical contents. Another particularly memorable moment came during the Act 1 duet with Nemorino. Dulcamara tells Nemorino to quiet it down while the tenor continues to respond with vigorous emphasis. Schrott ran over to Vargas and put his hands together to denote the diminuendo sign that is usually written into sheet music. He slowly brought his hands closer together; Vargas responded with a diminuendo. As the note came to an end, Schrott made a conducting gesture to finalize the phrase; this playful moment brought well-deserved applause from the audience. Vocally, Schrott was dynamic and potent; his volume resonating throughout the large hall. His pattering was flawless and his legato was elegant and poised; the character may have been awkwardly moving about, but he was certainly in control of himself.
And then there is Netrebko. This was the ideal way for the soprano to say goodbye to a character that has likely brought her a tremendous amount of memories. She danced about at a number of instances, emphasizing just how much fun she was having. She flirted with Vargas' Nemorino throughout most of the Act 1, scene 2 duet, emphasizing the moment where Adina actually realizes that she may be feeling something for the hero. Vocally, Netrebko was as imposing as she's ever been. Her coloratura, a sore point for main listeners, was nearly flawless, particularly during the final cabaletta. Her high notes were also quite stupendous, particularly when she sings over the chorus in Act 2 to get Nemorino's attention. But most impressive of all was the elegance and poise that she brought to the role's more breathtaking lyrical moments. The aria "Prendi per me sei libero" was one such shining example. Netrebko's delicate approach to the aria really revealed Adina's vulnerability for the first time in the entire evening. The same can be said for her delivery of the gorgeous opening lines of the duet "Chiedi all'aura lusinghiera" which had a creamy wistfulness that matched the romantic poetry of the libretto.
Conductor Maurizio Benini was wonderful in the pit, particularly during the overture where he sped through with wild abandon. This added to the urgency and directness of the music; it also highlighted a gorgeous 16-note run by the woodwinds that rarely has the same magical effect.
The production for this "Elisir" may still feel unnecessary, but the singers themselves have reminded the viewer that productions do not make an opera. They do.