Donizetti’s ‘Elixir of Love’ in Wilmington

Some directors distort Donizetti’s Elixir of Love, as Bartlett Sher did at the Met last year, when he incongruously gave the ingenue soprano from a rustic village a top hat and a riding crop. Others supply clever perspectives, as Nic Muni did for the Academy of Vocal Arts in 2012 by setting the opera during World War II and making Sergeant Belcore a member of Mussolini’s army.

But operagoers deserve occasionally to see classics as they were conceived. It’s like a refreshing splash of water— or of a magic elixir.

OperaDelaware’s production was decidedly old-fashioned. No cutting-edge concept. The scenery was traditionally flat, with a brightly painted backdrop of Basque hills. The exposition followed the original 1832 libretto. And the lead tenor added another glimpse of yesteryear: With his round face, full figure and bright ringing voice, he resembled the young Luciano Pavarotti.

Lovesick farmer’s lot

In Donizetti’s opera, Nemorino, a poor farmer, is in love with Adina, who seems to ignore him. Belcore is a visiting soldier; and Dr. Dulcamara a traveling quack doctor who sells potions. Nemorino joins the army to gain the enlistment bounty, which he spends on Dulcamara’s elixir (which is actually just cheap wine). As he’s about to join the regiment, Nemorino spots a tear in Adina’s eye and realizes that she loves him, too. This cues one of the most famous of all arias, Una furtiva lagrima (“One furtive tear”).

This scenario unfolded with charm and excellent musicianship. The tenor William Davenport sang Una furtiva with gorgeous tone, delicate shading and much the same innocence and lyricism that I noted when he appeared in Tales of Hoffman in 2011. (Click here.)

Sharin Apostolou as Adina was adorably sweet, and Trevor Scheunemann as Sergeant Belcore appeared appropriately tall, handsome and self-assured. Stephen Eisenhard was hilarious as the quack doctor.

A smaller Academy

One of the pleasant surprises was that these characterizations, and the comic situations, emerged without any neglect of musical matters. Every note was well placed, the intricate embellishments were accurate and the tones were gleaming.

The orchestra sounded rich, and the chorus of 30 sang out strongly and acted convincingly, which is more than you can say about some choruses in larger cities.

Lately I’ve leavened my praise for many opera productions with caveats about off-pitch high notes, weak low notes or smudged passagework. None of that is needed here. This was an all-around fine achievement. Conductor Jerome Shannon deserves high credit.

The Delaware Grand Opera House is a small version of Philadelphia’s Academy of Music, built in 1871 in Second Empire style. Its intimacy allows everyone to see the singers’ facial expressions, so you get some of the advantage of HD cinema without electronic distractions. It’s a pity that few Philadelphians seem to have discovered it.