Three staples of the Italian repertoire, performed and seen in very different circumstances, have confirmed my view that they deserve their place in the repertoire, however many other works by their composers or contemporaries may be unearthed.
I saw OperaUpClose’s version of Donizetti’s The Elixir of Love in the Mumford Theatre Cambridge, an underused venue that has the advantage of being 200 yards from my house. It is by far the best thing I have seen OUC do, and I regret catching only the last of many performances, but the only one here, where there is almost no interest in opera. Cleverly adapted and translated, this version takes place in Hollywood, with Adina a big star, Nemorino her gardener and poolboy, Belcore her fiancé and a soldier and aspiring congressman, and Dulcamara her stylist. This is by far the best updating of an opera I have seen, Dulcamara especially, with his collection of anti-ageing creams and other youth-preservers and libido-enhancers, and performed with great verve, almost menace, by Dickon Gough. I have often thought that Elixir is so free of malice that it is amazing that it isn’t boring, but in this adaptation satire is gently brought to the fore, making Adina’s final realisation of where her affections really lie a kind of Douglas Sirk moment.
It so happened that the same weekend I was reviewing a DVD of La favorite, a late serious opera Donizetti wrote for Paris, and CDs of Les Martyrs, another one: both performances are admirable, both operas last more than three hours, and though they contain fine things both are ultimately dull. It is inconceivable that they will take a place in the repertoire, at least until another Callas appears.
The latest Met Opera Live series ended last Saturday with Cavalleria Rusticana and Pagliacci.
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