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by Gaetano Donizetti, directed by Miklós Szinetár

Opera Ontario, Hamilton Place, Hamilton

October 13, 18, 20

Centre in the Square, Kitchener

October 26

"Bayrakdarian Triumphs in Elixir"

The one overwhelming reason to see Opera Ontario's "L'Elisir d'amore" is the outstanding performance of Canadian soprano Isabel Bayrakdarian.  The beauty of her voice and the naturalness of her acting make her perfect as Donizetti's capricious Adina.  After seeing her you won't be able to imagine anyone else in the role.  She is supported by fine performances by the other principals who, despite incredibly leaden conducting, bring this 1832 opera buffa to life.

"L'Elisir d'amore" is Donizetti's most popular opera after "Lucia di Lammermoor".  The story is very simple.  The poor illiterate peasant Nemorino is in love with the wealthy learned farm-owner Adina.  She, however, is attracted by the pompous Sergeant Belcore and considers his proposal of marriage.  At this point the travelling charlatan Doctor Dulcamara arrives who sells Nemorino the titular elixir of love.  Though only Bordeaux, the potion works but for reasons that have more to do with the dawning of love in Adina's heart than with Dulcamara's magic. 

Isabel Bayrakdarian has a stunningly beautiful voice.  It is both clear and rich and retains these qualities even in her high notes when her voice seems open and bloom.  The frequent runs Donizetti throws her way she tosses off as if nothing could be more natural.  And since her subtly nuanced singing is paired with subtly nuanced acting, it's is easy to see not only why she won the 1997 Met Competition but is now so much in demand.  How lucky for us Opera Ontario booked her when they did!  Though this is her first Adina she brings out the full range of the character from sprightly disdain to deep emotion.  Her "Prendi; per me sei libero" of Act 2 brought down the house. 

Though Bayrakdarian clearly outshines the others, it's not because they are not shining brightly themselves.  Hawaiian-American tenor Keith Ikaia-Purdy has a full, Italianate tenor and it is no surprise he should sing the main Verdi roles at his home base at the Vienna State Opera.  His fine acting and singing make naïve, shy, gullible Nemorino quite a lovable character which makes it all the more understandable that Adina should eventually fall for him.  Despite his natural approach throughout the action, when Ikaia-Purdy sings the opera's most famous aria, "Una furtiva lagrima", his manner becomes more formal and his rendition lacks that last bit of passion that would make it truly memorable. 

The warm-voiced Canadian baritone James Westman, playing his first Belcore, seems to relish the humour and swaggering machismo of a character who finds it only natural that all women should adore him.  Francisco Valls makes Doctor Dulcamara more of a genial host than a cheating scoundrel, but his wry attitude seems to anchor the mood of the piece.  Amelia Watkins has a pleasant voice as Gianetta but could seldom be heard when backed by the chorus.

This "Elisir" could have far more exciting if the singers did not have to labour within the confines of Peter Oleskevich's conducting.  To a work that demands zest and flair conductor he gives plodding deliberation.  His tempi are all much too slow especially in Act 1.  His habit of simply stopping at the end of each number does nothing to give the work forward momentum necessary for comedy.  It also gives the audience no clear signal of when or when not to applaud.  His cautious trudge leaves little room for expression from the Hamilton Philharmonic Orchestra or the chorus. 

The forward momentum of the piece is further undermined by the decision to follow the libretto by setting the action in four different locations when, as one sees in modern productions, only one, the town square, is needed.  The production, based on Alessandro Sanquirico's painterly designs for the opera's original production, are very attractive.  But in Donizetti's day, the scenery would have consisted only painted drops and could be changed instantaneously.  These sets (borrowed from Arizona Opera) involve multiple flats and props thus necessitating long scene changes in the middle of each act.  This is especially unhelpful in Act 1 when the scene change occurs directly before Doctor Dulcamara's arrival making a rather extenuated set-up for what should be a surprise.  Stephen Ross's lighting gives each scene of this gentle opera a suitably warm glow.    

Hungarian director Miklós Szinetár has communicated the playful mood of the opera to the principals but does little else but establish a series of attractive tableaux.  Many of the ideas he does add are far too distracting.  He has Ikaia-Purdy hold a cabbage in one hand  while shredding it with a sharp knife held in the other.  It's impossible to pay attention to what he or Bayrakdarian are singing during this, and I'd much rather be concerned about a missed note than a missing finger.  Later he has Ikaia-Purdy change into a military uniform on stage revealing a pair of Hudson's Bay long-johns.  This is quite funny but it attracts our focus away from James Westman's run-filled aria.

Despite my concerns about various aspects of the production, "L'Elisir" provides an evening of delightful singing.  International commitments will soon dominate Bayrakdarian's schedule.  Don't miss the chance to see her while you can. 

Photo: Isabel Bayrakdarian as Adina. ©2001 John Rennison.