OPERA / Thaw draw: Robert Maycock on English Touring Opera's L'Elisir d'Amore
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Your support makes all the difference.It shouldn't work. Poor boy loves rich woman farmer, buys love potion from passing quack, and she falls into his arms. This daft tale is given some point by its cynical seasoning - the ones who have the money pull the strings - and is saved by Donizetti's all- time great comic opera score. Every tune lets the voices soar, every rhythm giggles at the absurdity, and the timing is perfect, even for the big tenor aria which turns up just when you think it will never happen.
English Touring Opera, featuring L'Elisir d'Amore as its new production for this autumn's travels, took it this week to Marlowe Theatre, Canterbury, where they are choosy about such things. The ETO's revival of Cosi fan tutte had not gone down too well the previous night: 'I'm not mad about opera in modern dress,' my neighbour explained to the approval of everyone in earshot. When the curtain went up for L'Elisir, Adina was sitting in front of abstract panels beside a metal box. A safe for her riches? A stove? A fridge? 'Oh dear,' sighed a voice beside me.
Well, it's a fridge. Stephen Medcalf has shifted the action to US farming country, peopled with sweaty labourers in denims and big hats. Any moment, you expect them to strike up with 'There's a bright golden haze on the meadow. . .' And indeed there is, for Isabella Bywater's clever sets give a sunny glow that matches the spirit of the music. This proved to be the start of a major achievement in winning over the audience, which was very happy by the interval, and applauded when a model bus appeared, carrying Dulcamara, the purveyor of the potion.
What finally did the trick was the characterisation, which was neatly observed, funny and uncomplicated, allowing the house to relax and enjoy some fine singing. Dulcamara - Jonathan May in boater and racy moustache - strode around booming fluently. Adrian Clarke's Belcore was crass and confident, performing ludicrous leaps deadpan and enjoying the vocal display. Niall Morris, a bashful Nemorino, delivered some radiant spans of tone with ardour and eloquence.
Anybody who has heard Mary Plazas will have been counting the days to her Adina - only to find her withdrawing with a throat infection. Her understudy Diane Charlesworth, one of the chorus, sounded tense at first but took confidence in her duets with Morris and ended as the cast's central strength, firm in tone, sure in her sense of direction and rising brightly to the heights of display. The orchestra, conducted by Andrew Greenwood, played with pace and poise, catching the proper first-glass-of-champagne feel.
On tour until 3 December. For details phone: 071 820-1141
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