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Donizetti meets Mussolini
Donizetti's "L'Elisir d'Amore' by AVA
Steve Cohen
Donizetti's most popular opera, L'Elisir d'Amore ("The Elixir of Love"), is generally thought of as a light comedy. But the composer labeled it a melodramma giocoso— melodrama with comedy. It does, after all, concern encounters with soldiers, and its hero must choose between romance and joining the army.
(Donizetti liked to be specific about his various operas, labeling some of them opera semiseria, melodramma seria, opera buffa or heroic opera.)
Director Nic Muni courts real danger in the current production by setting the opera in 1945, when Sergeant Belcore is a member of Mussolini's army, which fought alongside the Nazis in northern Italy. When Nemorino accepts Belcore's money to enlist, he's actually risking his life, not to mention compromising his morals by agreeing to serve a Fascist dictator.
In the original version of the opera, Adina is a rich landowner; here she's the town's librarian. She's a reader, and a romantic, and also a coquette, and she takes several turns before she recognizes that marriage to Nemorino is her best choice. Muni hints at her multifaceted life when he shows Adina and Belcore emerge semi-clothed from a back room just before she tells Nemorino that she has bought his enlistment contract back from the sergeant.
Smoking and flirting
The interpretation that I saw on opening night with Sydney Mancasola as Adina shows too much of her common side, with much smoking and flirting. I'd like to see more of her Marian-the-librarian aspect. In any case, there's no denying that Adina's flaws create an interesting story.
In the original, Nemorino (played here by Luigi Boccia) is simply a peasant. Here, he's a janitor at the library. Clearly Nemorino lacks the social standing to approach Adina, yet he yearns for her. He's a big good-natured lug with a nerdy haircut and geek eyewear. Naturally, everyone in the audience roots for his success.
As Adina flirts with Belcore, the desperate Nemorino buys an elixir from the charlatan Doctor Dulcamara (Musa Ngqungwana), hoping that it will cause Adina to fall in love with him. When Nemorino's uncle dies and leaves a fortune to him, all the town's women suddenly are interested in him. Adina becomes jealous, a tear comes to her eye, cueing Nemorino to sing the famous "Una furtiva lagrima" ("A furtive tear"). The couple is married in a joyful finale.
Who shot Mussolini?
This production adds some action not envisioned by Donizetti: The Allied armies defeat the Nazis and Fascists; Belcore is arrested; and an American flag replaces the Italian tricolor in the final scene. Real history records that Italian partisans captured Mussolini in 1945 and shot him, well before America and its allies took control of the area. But never mind. Muni's diversions are fun, and they don't disturb the essence of the plot.
Because myriad subplots are added to this version, the audience is constantly diverted by interaction among the townspeople. It was fun to see chorus members who've starred in other AVA operas jitterbugging to Donizetti's 19th-Century melodies. Christofer Macatsoris's exuberant conducting and the orchestra's fine playing added luster to the production. In particular, Donizetti's beautiful writing for woodwinds got its proper attention.
The casting featured relative newcomers from the AVA roster of resident artists. Mancasola displayed a bright voice with easy command of high notes. Boccia combines a graceful lyric style with larger-than-usual volume for the role of Nemorino. Ngqungwana was a vivid presence with solid and subtle singing. Wes Mason sang very well as he embodied the thankless role of the villain Belcore. Casts will alternate at other performances.♦
To read a response, click here.
(Donizetti liked to be specific about his various operas, labeling some of them opera semiseria, melodramma seria, opera buffa or heroic opera.)
Director Nic Muni courts real danger in the current production by setting the opera in 1945, when Sergeant Belcore is a member of Mussolini's army, which fought alongside the Nazis in northern Italy. When Nemorino accepts Belcore's money to enlist, he's actually risking his life, not to mention compromising his morals by agreeing to serve a Fascist dictator.
In the original version of the opera, Adina is a rich landowner; here she's the town's librarian. She's a reader, and a romantic, and also a coquette, and she takes several turns before she recognizes that marriage to Nemorino is her best choice. Muni hints at her multifaceted life when he shows Adina and Belcore emerge semi-clothed from a back room just before she tells Nemorino that she has bought his enlistment contract back from the sergeant.
Smoking and flirting
The interpretation that I saw on opening night with Sydney Mancasola as Adina shows too much of her common side, with much smoking and flirting. I'd like to see more of her Marian-the-librarian aspect. In any case, there's no denying that Adina's flaws create an interesting story.
In the original, Nemorino (played here by Luigi Boccia) is simply a peasant. Here, he's a janitor at the library. Clearly Nemorino lacks the social standing to approach Adina, yet he yearns for her. He's a big good-natured lug with a nerdy haircut and geek eyewear. Naturally, everyone in the audience roots for his success.
As Adina flirts with Belcore, the desperate Nemorino buys an elixir from the charlatan Doctor Dulcamara (Musa Ngqungwana), hoping that it will cause Adina to fall in love with him. When Nemorino's uncle dies and leaves a fortune to him, all the town's women suddenly are interested in him. Adina becomes jealous, a tear comes to her eye, cueing Nemorino to sing the famous "Una furtiva lagrima" ("A furtive tear"). The couple is married in a joyful finale.
Who shot Mussolini?
This production adds some action not envisioned by Donizetti: The Allied armies defeat the Nazis and Fascists; Belcore is arrested; and an American flag replaces the Italian tricolor in the final scene. Real history records that Italian partisans captured Mussolini in 1945 and shot him, well before America and its allies took control of the area. But never mind. Muni's diversions are fun, and they don't disturb the essence of the plot.
Because myriad subplots are added to this version, the audience is constantly diverted by interaction among the townspeople. It was fun to see chorus members who've starred in other AVA operas jitterbugging to Donizetti's 19th-Century melodies. Christofer Macatsoris's exuberant conducting and the orchestra's fine playing added luster to the production. In particular, Donizetti's beautiful writing for woodwinds got its proper attention.
The casting featured relative newcomers from the AVA roster of resident artists. Mancasola displayed a bright voice with easy command of high notes. Boccia combines a graceful lyric style with larger-than-usual volume for the role of Nemorino. Ngqungwana was a vivid presence with solid and subtle singing. Wes Mason sang very well as he embodied the thankless role of the villain Belcore. Casts will alternate at other performances.♦
To read a response, click here.
What, When, Where
L’Elisir d’Amore. Opera by Gaetano Donizetti; Christofer Macatsoris, music director; Nic Muni, director. Academy of Vocal Arts production through May 3, 2012 at Helen Corning Warden Theater, 1920 Spruce St., Also May 5, 2012 at Central Bucks South High School, 1100 Folly Road, Warrington, Pa.; May 8 & 10, 2012 at Centennial Hall, Haverford School, 450 Lancaster Ave., Haverford, Pa.; and May 13, 2012 at Walter K. Gordon Theater, Rutgers/Camden, Third and Pearl Sts., Camden, N.J. (215) 735-1685 or www.avaopera.org.
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