Anna Netrebko returns in L'Elisir d'Amore.
by Paul J. Pelkonen
The Metropolitan Opera has revived its season-opening production of L'Elisir d'Amore for a few performances, giving more opera-goers a chance to see director Bartlett Sher's take on Donizetti's most famous comedy. (An earlier Superconductor review was of the opening night telecast, seen among the neon and bustle of Times Square.)
For no apparent reason, director Bartlett Sher refashions this opera buffa as a Verdi-esque clash between oppressive soldiers and would-be guerrilla fighters during the Risorgimento. As Dr. Dulcamara (Erwin Schrott) sells his brand of snake oil to the local peasants, his two assistants distribute single-action rifles from the back of his pushcart. The soldiers under Belcore's command are more threatening than usual, underlining the idea of political and personal tensions that will eventually erupt in violent revolution.
This production (seen Wednesday, Feb. 6) continues to revolve around its two leads, the inspired pairing of tenor Matthew Polenzani and star soprano Anna Netrebko. They both seem more comfortable in their roles, with the show-boating and jitters of opening night ditched in favor of a more natural style of comedy. There's a sweetness that wasn't there before in Ms. Netrebko's performance--she seemed more involved in the character even as she tossed off a virtuosic display of bel canto singing. Her tone was firm and assured in the big solo numbers yet rich and melting in her final duet with Nemorino.
by Paul J. Pelkonen
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| The guy behind her has a bigger hat: Anna Netrebko as Adina in L'Elisir d'Amore. Photo by Ken Howard © 2012 The Metropolitan Opera. |
For no apparent reason, director Bartlett Sher refashions this opera buffa as a Verdi-esque clash between oppressive soldiers and would-be guerrilla fighters during the Risorgimento. As Dr. Dulcamara (Erwin Schrott) sells his brand of snake oil to the local peasants, his two assistants distribute single-action rifles from the back of his pushcart. The soldiers under Belcore's command are more threatening than usual, underlining the idea of political and personal tensions that will eventually erupt in violent revolution.
This production (seen Wednesday, Feb. 6) continues to revolve around its two leads, the inspired pairing of tenor Matthew Polenzani and star soprano Anna Netrebko. They both seem more comfortable in their roles, with the show-boating and jitters of opening night ditched in favor of a more natural style of comedy. There's a sweetness that wasn't there before in Ms. Netrebko's performance--she seemed more involved in the character even as she tossed off a virtuosic display of bel canto singing. Her tone was firm and assured in the big solo numbers yet rich and melting in her final duet with Nemorino.
