Met Opera Radio Review: L’Elisir d’Amore
Javier Camarena and Golda Schultz (reading) and Brittany Renee (in pink) in L’Elisir d’Amore (Marty Sohl/Met Opera)
Oh, how I adore L’Elisir d’Amore! There’s never a dull tune, the story’s light and romantic, and it’s endless fun. It would be my Desert Island Disc to always lift my spirits and get me humming.
This season, the Met’s giving us a captivating and lively revival of Elisir to carry us through chilly January on a cloud of melody. Donizetti’s beloved bel canto romp is reliably showered with a cast of stars, and this time is no exception. I’ve had my eyes on it since the 2022-23 season was announced.
Making his Met debut, Michele Gamba led the splendid Met Orchestra in a brisk, beguiling performance. As Nemorino (“little nobody”), Javier Camarena was wonderful and adorable. He’s performed his role all over the world, but never at the Met. Until now.
Javier Camarena and Golda Schultz in L’Elisir d’Amore (Marty Sohl/Met Opera)
With considerable heart, joy, and dimples, Javier gave a thoroughly entertaining portrayal. While his voice seems to have developed away from Nemorino (he’s now singing darker roles such as the Duke of Mantua in Rigoletto and Edgardo in Lucia di Lammermoor), its quality is all there and Javier received an elated and deserving ovation after the opera's signature aria, “Una furtiva lagrima.”
South African soprano Golda Schultz sang Adina, his elusive love. Her name describes her voice perfectly: golden. Her Adina was confident and mischievous, with a dazzling vocal bloom that echoed the opera’s charm. Unlike Javier, this is not only her first time in the role but also her first bel canto role. You’d never know it — Adina fits her like a glove! What a treat it is to listen to her.
Apart from her marvelous voice, I was delighted to see (from photos and excerpts) that Golda is singing with her natural hair, loose in all its glory. Good on you, girl! (Update: Angel Blue did the same for La Traviata in March.)
There was an unusual level of flirting between Nemorino and Adina. It was clear that they were destined for each other, that Adina was not so out of reach as she seemed, and that they would end up in each other’s arms. Happily ever after!
From left: Javier Camarena, Golda Schultz, and Davide Luciano in L’Elisir d’Amore (Marty Sohl/Met Opera)
Golda Schultz and Ambrogio Maestri in L’Elisir d’Amore (Marty Sohl/Met Opera)
In the same role as his Met debut, Davide Luciano impeccably conveyed Sergeant Belcore’s bottomless conceit and swagger. His voice is energetic and resonant, and reminds one of a bite of rich, but not fudgy, cake.
Ambrogio Maestri likewise turned in an enjoyable and skillful performance. At the start of Dr. Dulcamara’s aria, “Udite, udite, o rustici,” his singing sounded less forceful than it did in 2019, the last time he was at the Met. By the end of the scene, however, he was warmed up and more daring with his high notes, and he kept up the energy for the rest of the opera. Ambrogio also pulled off Dulcamara’s speed-singing moments without a hitch. It’s good to have him back.
Brittany Renee was solid in the role of Giannetta and the chorus shone too. This part wasn’t “sung,” but I can’t help noting that the village ladies gave an excellent ear-splitting scream when they found out that Nemorino had become a millionaire.
Of course they ended up together. Foreground from left: Davide Luciano, Golda Schultz, Javier Camarena, and Brittany Renee in L’Elisir d’Amore (Marty Sohl/Met Opera)
Only one performance remains with this cast, on January 27th. Elisir returns on April 13 with Aleksandra Kurzak and Xabier Anduaga, but I can’t imagine a more enchanting lineup for this enchanting comedy. I wouldn’t miss it if I were you!
