Dazzling Donizetti

The Met Live in HD series for 2012–13 got off to a brilliant start with a new production of Donizetti’s L’Elisir d’Amore, the most warm-hearted of comedies — in fact, a work so genial that I’m always surprised it doesn’t lapse into insipidity. This production by Bartlett Sher made that seem less of a danger than usual, because although it would be an exaggeration to say he had rethought the piece, he did make it into a more three-dimensional work than usual, Donizetti edging more towards Bellini and away from Rossini, whereas Don Pasquale is the other way round. There are fewer laughs in Sher’s production than you might expect, but far more involvement with the characters. Such a spellbinding achievement wouldn’t be possible without a quartet of singing actors who identify with their roles to the point — rare in comic opera anywhere — that they never indulge in the kind of semaphoring and stamping around the stage which still seems to be many singers’ idea of humour.

The sets, by Michael Yeargan, are reassuringly traditional, though less cumbersome than the Met often indulges in; at cinemas you’re shown them being wheeled around, an awe-inspiring logistical feat that becomes almost part of the show. I do wish the Met would take it easy about keeping us entertained: whoever is responsible for the detail of the broadcasts seems to be afraid that we might walk out if we’re not watching the gush and banter of interviews, or seeing the sweating stars coming off stage, or being told how exciting next time will be too.