A thoroughly entertaining modern twist on a classic Italian opera through an attempted, if confusing, contemporary lens
Gaetano Donizetti’s L’elisir d’Amore premiered in Milan in 1832. Nearly two hundred years later, The Elixir of Love, a modern English-language take on the classic Italian opera, premiered at Wilton’s Music Hall. This production, directed by John Wilkie, is on for London audiences through 19 September.
The Elixir of Love, much like L’elisir d’Amore, tells the story of a poor young villager, Nemorino, who is hopelessly in love with the beautiful Adina. In a desperate attempt to win her affection, Nemorino purchases a magic love potion from a visiting scientist-cum-salesman. It’s a story for opera enthusiasts, as well as lovers of romantic comedies. Musical theatre fans will also appreciate the songs, which at times border on showtune. The comedic opera features gorgeous music and is expertly musically directed by David Eaton.
Performance elements of The Elixir of Love are exceptional, including the set design by Ceci Calf, who has imagined a world that looks straight from the West End. The show is visually stunning thanks to exceptional lighting design by Jake Wiltshire. Performances are equally strong across the board. Xavier Hetherington (Nemorino) nearly steals the show with his magnificent singing voice, but Madeline Robinson’s (Adina) performance is not to be forgotten. Matthew Kellett, James Geidt and Maria Wotherspoon round out the principal cast, and deliver consistent comedy. The entire company is fully-committed, and their charisma brings the story to life.
This particular production of The Elixir of Love, presented by the Waterperry Opera Festival in association with Charles Court Opera, features a new English libretto also by Eaton. His translation includes phrases like “you do you,” potentially to make the intimidating genre of ‘opera’ more accessible to new and younger audiences. The modernisation works to mixed effect. Throwaway references to current politics and technology gain laughs, but do so at the expense of clarity. The performance never clarifies its setting; these references do not match the tone, aesthetic, or set design of the rest of the piece. Time and place are confused, as is the role and nature of magic. Some of these pitfalls are pitfalls of the genre itself. It’s true that opera convention dictates there need not be much by way of context and background. Even still, characters in Elixir of Love appear and disappear almost out of thin air, without history or circumstance. Their motivations and transformations are unclear, as is their appeal to each other.
The Elixir of Love successfully translates the story of L’elisir d’Amore for modern audiences, but fails in its attempt to apply contemporary thinking and feminist values to a story that fundamentally does not share these values. Donizetti’s story ultimately does not fit Eaton’s politics. Consequently, The Elixir of Love struggles under the weight of its desire for a moral potentially antithetical to its source material.
It is nonetheless thoroughly entertaining, if not examined too closely.
The Elixir of Love runs at Wilton’s Musical Hall until 19th September. Tickets here.