The vast stage of the State Theatre at Playhouse Square Center was almost entirely bare and entirely exposed to the ticket-holders as they entered the theater. A wooden platform, a chair or two and a couple of step-ladders of differing heights were all one could see. With the help of a backdrop which presented a blue, blue sky with fluffy white clouds (and the man in the moon during the second act); brilliant lighting—swags of colored lights interspersed with balloons—and a few other assorted pieces of furniture, the opera unfolded in a perfectly normal fashion. I suspect that hardly anyone even realized that there was no ‘set’, or even missed having one!
(Due to Hurricane Katrina, the sets which were to be rented from New Orleans Opera were unfortunately not available. In the spirit of operahood, Cleveland Opera contributed the money to the NOO, anyway, and just went on with the show.)
L'elisir d'Amore abounds with tuneful music from the pen of Gaetano Donizetti, and has never been out of the general repertoire since its introduction in 1832. It tells the standard romantic tale of boy meets girl, boy loses girl, boy gets girl, and almost everyone lives happily ever after. In this version, a poor young villager, Nemorino, worships Adina, the local land-owner from afar, held back by his lack of material goods. When Adina entertains the villagers by reading them the ancient tale of Tristan and Isolde, and the magic love potion that enslaved Isolde, Nemorino wishes for a love potion of his own.
Of course, they don’t know it yet, but the village is about to have visitors—the swash-buckling Sgt. Belcore and his small troop of soldiers, and the magnificent Dr. Dulcamore, otherwise known as a quack, who happily sells a remedy for whatever ails anyone, regardless of the ailment.
As this is a comic or buffa type opera, all ends happily.
Director Joshua Major, lighting designer Jeff Davis and the production staff of Terry Martin (props master), Bill Collister (production manager), Tracy Davis (production stage manager) and Jeff Gryczan (costume coordinator) deserve an extra bow for their handsome production. Scott Bergeson conducted the orchestra, which was excellent, although electronics tried to interfere at times. Betsy Burleigh did her usual marvelous preparation with the large chorus, which sang and danced with vigor, while looking like village inhabitants. Their colorful costumes were from Malabar, Ltd.
As the bumbling Nemorino, John Osborn went through all the requisite emotions and actions, his tenor voice clearly up to the demands of the role, especially during the famous Una furtiva lagrima, (with gorgeous bassoon obbligato by Katherine Shanklin). A bit earlier, after he first sampled the ‘magic potion’, his sigh of pleasure was clearly—and humorously—audible. Alison Trainer was visually and vocally in tune with Adina, as was Adele Karam as Gianetta, her red hair providing a nice contrast to the blond of Adina.
The two older men, however, came close to stealing the show. David Malis has portrayed the swaggering Belcore at the Met, and this experience clearly stood him in good stead, as he seemed more comfortable and assured than his younger cohorts. His rich baritone easily carried throughout the large house. Likewise, bass Jason Hardy as Dulcamore, although younger, was still very at ease in the role. His Rube-Goldberg type ‘elixir distillery’ was a masterpiece of comic invention!
All but Ms. Karam were making their Cleveland Opera debuts in this production. They’d all be welcomed back, if the appreciative response of the large opening night audience is any indication.
Two more performances are scheduled: Friday, December 8 and Saturday, December 9 at 8 pm each evening. For tickets or information, visit: http://www.clevelandopera.org, or by phone at Tickets.com 216/241-6000 or 800/766-6048, or at the State Theater Box Office, 1519 Euclid Avenue.
From Cool Cleveland contributor Kelly Ferjutz ArtsWriteratAdelphia.net (:divend:)