The Elixir of Love

The Elixir of Love
By Donizett. Opera Australia. Joan Sutherland Theatre, Sydney Opera House. August 11 – 30, 2014.

Though first performed in Melbourne in 2001, director Simon Phillips’ idea to set Gaetano Donizetti’s popular opera comica in rural Australia circa 1915 still works charmingly. His very Australian surtitles lend added chuckles, as does his satirical take on the ‘elixir’ that is central to the theme.

Designers Michael Scott-Mitchell (set) and Gabriela Tylesova (costumes) authenticate the time and place with wry humour and local colour. Behind a scrim hand-painted in a style that suggest Fred Williams, Scott-Mitchell has used the ubiquitous corrugated iron of the outback in amazing dioramas that suggest daytime brown heat and dust and distance, and the clear, deep blues of starry country nights. ‘Corrugated’ sheep graze in the foreground in the opening scenes and Adina (and later some soldiers) ride in on ‘corrugated’ horses. Shadow puppets of a battalion of soldiers and a travelling salesman’s van coming over distant ‘hills’ add to the playful mood.

Tylesova has picked up that fun and the outback colours in her costumes, which, while true to the period, are cleverly over painted with more contemporary dry brush swirls and patterns.

The Elixir of Love is a melodrama and Phillips’ direction makes much of the stock characters and the comic opportunities of the opera. And, if at times there are moments that veer more towards farce, the performers take it in their stride. Their comic timing and inter-action is excellent – and the physicality required by the choreography in some scenes is very demanding of performers who are singing particularly difficult pieces whilst for example, weaving and dodging around the stage in an energetic and comically timed fight scene.

There is much to say about the performances, but it is Jane Ede who deserves first mention, flying in from Melbourne on opening night to play Adina, replacing Rachelle Durkin who had been struck down with a ghastly flu virus. Ede was a very accomplished Adina, flirtatious, haughty, caring, funny – and singing beautifully, no mean achievement considering this was the first time she had ever performed the second act.

Aldo Di Toro is loveable – and very funny – as Nemorino, who, rejected by Adina, is prepared to try ‘doctor’ Dulcamara’s cure-all elixir as a love potion, even enlisting in the army to be able to afford a second bottle! Di Toro’s singing and acting endears his character to the audience. His facial expressions in ‘asides’ and his comic timing only add to a very fine performance.

Samuel Dundas is a very dashing Belcore – in this production a swash-buckling English sergeant recruiting for the AIF! His physical command of the stage and some funny ‘gag’ moments gives the character a little more depth than the usual stock ‘villain’. His duets with both Adina and Nemorino are as thrilling as one has learned to expect of this very accomplished performer.

Conal Coad plays the very suspect ‘doctor’, Dulcamara. Coad, an Opera Australia favourite, plays this character with great comic aplomb. In purple striped suit and long pencil moustache, he climbs on to the top of his van, and under a parasol hung with crystals , beguiles the town folk as he sings of the wonders of his ‘elixir’ . His duet with Adina, performed on the wedding table, is a special moment in the opera.

As Giannetta, Katherine Wiles is girlishly flirtatious, and, whether humouring Adina, or leading the local lasses of the Chorus, her clear notes soar. The Chorus is an important part of this production. On stage much of the time, as townsfolk and a small battalion of soldiers, they are entirely part of the action, singing, dancing, reacting, freezing. It is great to see such an animated, ‘with it’ Chorus who seem to be enjoying themselves as well as supporting the principals.

Phillips’ direction, Donizetti’s characters and music and the OA orchestra conducted by Guillaume Tourniaire make this production fast, fun and highly enjoyable!

Carol Wimmer

Images: Conal Coad as Dulcamara and Aldo Di Toro as Nemorino; Rachelle Durkin as Adina and the Opera Australia Chorus & Rachelle Durkin as Adina and Aldo Di Toro as Nemorino. Photagrapher: Lisa Tomasetti

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