L'Elisir d'Amore

by David Shengold

opera review

Love Potion

Donizetti's 1832 comedy, crafted in two weeks, remains one of the lyric stage's miracles -- and best "date operas": Some friends in Philly made a Curtis Elisir an early date together years back, and are now married with two lovely kids! No guarantees on that front, but AVA's swiftly moving current production, both romantic and amusing, is very recommendable. Donizetti's humanity enriches a sitcom plot: Sincere, somewhat dim Nemorino wins richer, smarter Adina after buying the title's "elixir of love" -- actually, some strong Bordeaux -- and gaining confidence (the village's other women pursuing him after he inherits a fortune -- unbeknownst to him or Adina -- doesn't hurt either.).

With good comic presence, bass Jason Switzer showed impressive sheen and polish as Dulcamara, the potion-dispensing quack. Joseph Spector amused as Sergeant Belcore, whose swagger distracts Adina for a time. Musicianly and with charming language in her eyes, graduating soprano Eglise Gutierrez, already embarked on a major career, sounds almost too robust for the tiny Warden stage; she'll have more room to soar at the suburban venues, and when Ms. Gutierrez soars all is right with the world. Elisir depends on its Nemorino, and James Valenti really delivers the goods, with excellent phrasing and diction wedded to an endearing, handsome-but-gawky sincerity: just right. This very gifted New Jersey tenor has notably improved his command of line and dynamics while at AVA and seems poised for international success. I just hope he defers accepting any more contracts for La Bohème and concentrates for a few more years on Donizetti, Verdi's Alfredo and lyric French repertory. Opera companies are desperate for qualified Puccini tenors, especially ones who sound Italianate and look good onstage: Unfortunately, in big houses, the heavy Bohème and Butterfly orchestrations have been taking the bloom off of promising young American tenors for decades now. Just 26, Valenti will certainly get excitingly to Butterfly and even Tosca if he just says, "Later."

Aptly Mediterranean lighting draped Peter Harrison's Italian village in the proper atmosphere. Director Chuck Hudson's background in movement served well: He kept the well-blocked show physical (several pratfalls for the lovelorn Nemorino) and tightly focused. Though the initial choruses of both acts were trimmed, Christofer Macatsoris and the Chamber Orchestra of Philadelphia offered a fine reading.

April 29, Academy of Vocal Arts May 8, Central Bucks East Auditorium, Holicong; May 10 and 11, Centennial Hall, Haverford, 215-735-1685

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