Brilliantly altered perspectives for OperaUpClose’s production of L’Elisir d’Amore applied equally to the set, the libretto, the orchestration and the context.
Donizetti’s popular tale has been updated occasionally since it was first written in 1832 but no new version could possibly be the equal of this most intelligent and inventive reworking.
Who would have imagined it in 1950’s Hollywood with Hockney pool reference, upright lilos and a mascara salesman? It works a treat.
Dulcamara, sung with perfect diction by Alistair Sutherland, wickedly passes off a Gin Fizz (with umbrella) to Philip Lee’s Nemorino whose angst -ridden tenor achieves dramatic expression of unrequited love.
Soprano Eleanor Ross is Gianetta, perfect comedienne, and Belcore is Richard Immergluck, sonorously pompous politican.
The young Australian soprano Prudence Sanders produced an Adina of star quality with crystal sound and stage presence, changing from cynic to sweetheart before our eyes.
Solo singing was wonderful but ensembles were even better, the Quintet at the end of Act l in particular. John Gibbons played the piano in his new orchestration with Frances Higgs, viola and Sarah Douglas, clarinet: musicians of infinite skill, subtlety and support.
Sensational.
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