White Horse Opera

That’s it – that’s my review. Short and to the point, huh?

Levine’s conducting is buoyant, sparkling and driving. Pavarotti sounds more involved and comical here than he does in the recording with Sutherland. Kathy Battle is perfection. Enzo Dara is a delightful Dulcamara. But Leo Nucci is sloppy with his note-values and in very poor voice.

Still (*sigh*) it’s the best “L’Elisir” available, since the complete performance with José Carreras seems to have been pulled from circulation.
Rating: 4 / 5

I am incapable of recognizing the case against Nucci and Dara’s singing and not highly motivated to find out. I listen to operas, not to nuances distingishing one professional from another. In a review of the Ferro Don Pasquale, I state a preference for L’Elisir D’Amore because it is less formulaic than the 1843 opera buffa. The 1832 work is genuinely comic rather than satirical. Pavarotti has said that he particularly enjoys singing the part of Nemorino, a “simple young man,” because of the contrast it offers him to the blood-and-thunder roles he is usually called on to sing. Pavarotti’s voice lends itself to a “simple” part because of its down-to-earth quality. His choice not to sing German accords with the impression that he is a definitive representative of Italian culture. L’Elisir D’Amore is about as Italian as opera can get. I have never heard a better comic opera than this; and the effect is no doubt owing to the performances despite the criticisms of Nucci and Dara.

Comedy presents undistinguished characters designed to represent the basic health of society. It is antithetical to the tragic depth of Wagner’s Tristan und Isolde and to the sublime mystery of Bartok’s Bluebeard’s Castle. Comic characters involve themselves in inconsequential troubles based on inconsequential goals, decisions and actions. No doubt Nemorino would like to prosper in love with Adina; but her capriciousness keeps her from figuring as a major erotic prize. She plants the notion of a magic potion in Nemorino’s mind after reading the story of Tristan and Isolt. Heaven knows what a gulf separates L’Elisir D’Amore from Wagner’s love-and-death opera! After the handsome Belcore sweeps Adina off her feet (whatever that means) by comparing her to Venus in the Judgment of Paris, the charlatan Dulcamara saves the day with his fake but psychologically effective potion. Nemorino sings, “Dear elixir! You’re mine! / Yes, all mine. / How powerful your strength must be/ if, without having drunk any yet/ you fill my breast with so much joy!” Thalia, the muse of comedy, must have been proud of this one.
Rating: 5 / 5

There are a lot of positivs about this recording, however there are a few annoying things which keep me from giving this version of L’Elisir five stars.

First for the positives. The cast is wonderful and mostly in good form. For his part Pavarotti is a wonderful Nemorino. He is very involved during this performance, and delivers a wonderful combination of fun and sorrow which captures Nemorino to a tee. You can truly feal that he was having fun during this performance. Kathleen battle delivers a stron performance but one which is sub par for someone of her considerable tallents.
Leo Nucci is simply fantastic. He is truly the embodyment of the arrogant Belcore, and his voice is in excellent form here.
Lastly Enzo Dara delivers a solid performance as the excentric doctor Dulcamarra. There are better performances out there(See the Gheorghiu-Alagna set)but Dara does a good job with this difficult role.

The second major positive about the recording is the Orchestra and Conducting. Levine generall has a good sense for the pacing of a piece, as well as the talent with which he is working. This skill is on full display here. Levine moves the opera along at a brisk pace, yet one that does not force the singers to fight to catch up with the orchestra. In addition the orchestra does not drown out the performers(as is so often the case).

Now for the negatives: The production work here is not perfect. At one point in the first act you can hear someone coughing, as well as there is the occasional page turning which I assume is from the orchestra. These things are not constant, but they are annoying and show a lack of attention to detail on the part of the production team. The second weakness is actually related to Battle. She never hits any of the high notes built into this opera. One such case is at the end of the first trio in act one. I don’t quite understand why she does this, she is certainly more then capable of comfortably reaching a high D or E.This is truly dissapointing. Lastly Enzo darra at times struggles whith the Dulcamara role. At one point his voice even cracks during his first duet with Nemorino. Grant it this role is very demanding, but again a dissapointment.

Whith all that said, this is a fine recording of a wonderful opera, and a solid 4 star selection.
Rating: 4 / 5