The Elixir of Love

Just the Job

The Elixir of Love

by Gaetano Donizetti libretto by Felice Romani

English National Opera at the London Coliseum until 5^th December

Review by Patrick Shorrock

Donizetti’s opera has “undemanding” running right through every bar like a stick of rock, and is pretty well guaranteed to give an audience a good time.  In some ways this is rather strange, as it’s got some potentially unappealing characters: a stupid and naïve tenor, a rather heartless soprano, a baritone who is far too pleased with himself, and con-man of a bass.  But Donizetti’s music miraculously brings these stock characters to life and makes them charming and sympathetic.

A cynic might say that all a director needs to do is not muck it up by making the mistake of trying too hard.  That is not Harry Fehr’s approach.  But his interventions are largely harmless and decorative and he works with the grain of the piece rather than against it.  He sets it during the Second World War on an English country estate, with airmen, land girls, and impoverished aristocrats.  He could be accused of aiming at the Downton Abbey market, although the result is generally rather classier than that.  As if that wasn’t enough, he then proceeds to frame the opera as an episode from a TV sitcom.

As we enter the Coliseum, instead of a curtain we see a ginormous television screen on which the rotating lights at the top of the Coliseum have replaced the spinning globe of the BBC logo from the 1970s.  When the prelude starts, we get hilarious pre-programme credits (designed by Matt Powell).  This is all very charming and amusing and is done with an expertly light touch and doesn’t outstay its welcome, insist on its own clever-cleverness, or distract the audience’s attention.

The curtain goes up on a huge country house kitchen, which gradually fills up with Land Girls and farm workers who are being given their lunch.  Nemorino is reading a book, and Adina appears in riding dress.  This is a pleasing and effective setting for Act One – all credit to Set Designer, Nicky Shaw, and Costume Designer Zahra Mansouri.  For Act Two, we are in a reception room where the covers from the furniture are hastily removed and the sash windows – through which everyone comes and goes as if they were French windows – are opened and a hastily baked wedding cake is placed on the table, and everyone appears in their Sunday best (except the Land Girls and airmen who remain in uniform).

There are nits for a pedant to pick.  The priest, bride, and groom would never set off together for a wedding.  During wartime scarcity, a teddy bear, flowers, and chocolates, no matter how unwanted, would never be simply thrown in the bin.  A lady, no matter how relaxed, would hardly change her blouse in the kitchen with men present, let alone wave her bra at him.  But all of this is to take this far more seriously than you are intended to.

Musically everything is in good shape, nicely maintained by Conductor, Teresa Riviero Böhm.  Rhian Lois has the notes for Adina, and characterised her well, but her tone tended to curdle: when she turned off the vibrato, she sounded so much sweeter. 

Thomas Atkins’s ideal Nemorino is very much the star of the show.  He plays him to start with as a silly ass straight out of P G Wodehouse, with braces and a Fair Isle sweater, but gradually matures into something confident and heartfelt – a surprise to himself as well as to others.  His singing was gloriously sweet, secure, and musical, and he had the taste and confidence not to belt, which must be a huge temptation.  I was delighted that he resisted, as he provided some absolutely ravishing pianissimi, culminating in a marvellous Una Furtiva Lagrima – sung while he lounged on a huge chintz sofa. 

Brandon Cedel is a magnificent spiv of a Dulcamara.  He doesn’t overplay it and sings splendidly making the most of the brilliant patter in Amanda Holden’s witty translation.  Dan D’Souza (Belcore) and Segomotso Masego Shupinyaneng (Gianetta) provide excellent support in a really rather joyous evening.  Mark Jonathan (Lighting Director) and Anjali Mehra (Movement Director) contributed to the overall effect without drawing attention to themselves, which is exactly what was required and harder to do than it looks.

Patrick Shorrock, November 2024

Photography by Marc Brenner