Expecting L'Elisir d'Bore – Got L'Elisir d’Like: Met in HD

Maybe it’s because I read all the lukewarm reviews of opening night and was prepared for the worst; maybe it’s because I was excited by finally getting to see my first Met in HD broadcast; or maybe it’s because it just wasn't all that bad.

I can see where maybe this production was a bit of a letdown for a gala opening night. L’Elisir  d'Amore is a pretty light-weight, almost fluffy opera—light enough to be a good gateway opera for newbies; but perhaps it’s just not serious enough for the operatti on opening night. And I can see where the promise of a “new production” would raise hopes, but remember this is Peter (bore ‘em or piss ‘em off) Gelb we’re talking about. But I liked it anyway. And Dad did too. (We compared notes Saturday evening.)

I was prepared for Anna Netrebko’s darker voice as Adina, and I expected Mariusz Kwiecien to sing well, though the part seemed almost too low for him. But it was nice to see Belcore look good enough to be a possible threat as a rival to Nemorino. Speaking of, I was surprised and pleased by the warmth and relative agility of Matthew Polenzani’s voice.

The lady sitting near me (we had the obligatory personal-space seat between us) commented that Ambrogio Maestri would be a good Falstaff—which I understand is in his repertoire—and I agreed. He was a cartoonish, over-the-top Dulcamara; but really, is that character supposed to be believable anyway? Even Anne-Carolyn Bird as Gianetta (they couldn’t fit her name on the cast sheet?) sounded pretty darned good. And the chorus did what the Met chorus does: look awkward but sing prettily.

I was glad to see Nemorino's “bumpkin-ness” downplayed. And I enjoyed the indication right at the start that there was already a pretty strong attraction between Adina and Nemorino, with an almost adolescent bit of “I like him so I am going to tease him and pretend I don’t like him” interplay. 

Adina came across well, though I she could have been better with a little more specific direction. I still didn’t love the top hat, but I got it. When she wears it, she’s in charge; when she isn’t wearing it, she is more relaxed; and when she lets her hair down for the final scene, she is vulnerable:

I think maybe I was most surprised by the really long scene change in act 1. Nowadays, I expect marvelous stagecraft that makes these things happen quickly. At the same time, I enjoy seeing the backstage stuff: watching them move the scenery around and seeing the singers in moments of repose.

Speaking of backstage, maybe I actually am a bit of an opera snob, but I find the backstage interviews almost insulting. They might do better to have a real news person back there rather than an opera singer (whom I love) reading a teleprompter—speaking of fluffy! I guess one could argue that you’re not going to get a scintillating interview from someone who just came offstage from singing and needs to get ready to go back (or from the guy who cooks the spaghetti.) When you think about it, those singers are pretty good sports for agreeing to the interview at all (though maybe it’s in their contracts?)

At the very least, after my first Met in HD experience, I am ready to go back. All in all, I didn't necessarily love this elixir, but I liked it—very much.