Opera Warhorses

Until the late 1960s, San Francisco Opera paid scant attention to Donizetti’s great romantic comic opera, “L’Elisir d’Amore”, having had only three performances of the opera in San Francisco in the first 44 seasons of the company’s history.  (If this seems incredible for an international house led for its first 30 years by an Italian-born conductor, consider that until 1959, there was only a single performance in San Francisco Opera’s first 36 years of any work by Vincenzo Bellini.)

Beginning in 1967, San Francisco Opera began to take the Donizetti comic opera seriously, mounting it for the legendary cast of Alfredo Kraus (Nemorino), Reri Grist (Adina), Ingvar Wixell (Belcore, in Wixell’s American debut), and Sesto Bruscantini (Dulcamara) in a new production by Robert Darling directed by Lofti Mansouri.  The production was revived two years later with Luciano Pavarotti replacing Kraus in the original foursome.

Since 1967, “L’Elisir” has had three new productions, and has provided a vehicle for such stars as Jose Carreras and Paolo Montarsolo (1975), and Ruth Ann Swenson (with Luis Lima and Dale Duesing in 1984 and Jerry Hadley and Simone Alaimo in 1992)

Although the previous productions sited the opera in a once upon a time rustic village in Italy, the current production time-shifted the story to California’s Napa Valley in 1917, just before the entrance of the United States into World War I.

Nemorino drives an ice cream truck (he appears to be an employee rather than an entrepreneur, because, in the final scene after he and Adina become aware of his inheritance, he seems to assume ownership of the ice cream business.) Adina begins the opera as a beauty queen, and Belcore is a recruiter for the U. S. Army. The charlatan Dulcamara is, well, the charlatan Dulcamara.

[Below: Nemorino (Ramon Vargas) dispenses ice cream to the Napa villagers; edited image, based on a Terrence McCarthy photograph, courtesy of San Francisco Opera.]

Much of opera that is time-shifted appears not only anachronistic but sappy, yet there is a universality to the story of “L’Elisir”, and it works here. In fact, the story probably would work in any setting in which you might assemble a lovesick youth, the coy object of his affections, a petty army official, a charlatan making outrageous health claims about his product, and gullible consumers.

Vargas is one of the reigning superstar lyric tenors, but has rarely appeared at San Francisco Opera, his only previous engagements being a round of Edgardos to Swenson’s Lucia in Donizetti’s “Lucia di Lammermoor” and two performances as Gustavo III in Verdi’s “Ballo in Maschera” in 1999. 

Although Vargas has been engaged at the next higher category of vocal weight (see my review Vargas, Podles Brilliant in Puzzle Box “Ballo”: Houston - November 2, 2007), and has both recorded and performed Verdi tenor parts, he has kept Nemorino, a role particularly well suited to displaying the glories of the lyric tenor voice, in his active repertoire, and he also has sung other Donizetti roles in the recent past.

[Below: Ramon Vargas is Nemorino, here with Ji Young Yang (Gianetta); edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

Vargas’ most illustrious predecessor as Nemorino in San Francisco, Pavarotti, performed the role at age 34, when he could be a vigorous actor, and, with his innate charm, an engaging comedian. Pavarotti was arguably the greatest lyric tenor of the 20th century. The vocal skills he employed in singing Donizetti are well documented.

Many San Francisco Opera veterans regard Pavarotti as the lead divo of the pantheon of extraordinary tenors (including Placido Domingo, Alfredo Kraus, Jose Carreras, Jon Vickers and Giacomo Aragall) that performed in San Francisco Opera’s Italian repertory from 1966 through 1981 - the latter half of Kurt Herbert Adler’s directorship. San Francisco was one of the cities graced with Pavarotti’s peerless performances of Donizetti roles: Edgardo in 1968 and 1972, Nemorino in 1969 and his role debut as Fernando in “La Favorita” in 1973.

It is a phenomenon of operatic history that every generation of operagoers contains substantial numbers of persons who think that the great performers whom they remember from their youth constituted a “golden age” in contrast to contemporary singers whom they think show evidence of a decline in artistic values.

As readers of this website have detected, even though I have had the rich experience of attending operatic performances of most of the greatest singers of the 1960s and 1970s in their prime, I find many comparable voices in contemporary operatic performances - sometimes (not always) in more interesting physical productions and more often than not as part of casts that are uniformly excellent. (See my extended remarks in my upcoming review of Donizetti’s “Lucrezia Borgia” at the Washington National Opera.)

Thus, I found it significant that more than one of the 2008 audience who had been audience members for Pavarotti S. F. performances in 1969, greeted me with their perceptions that attending a Vargas “L’Elisir” performance caused them to recall Pavarotti on stage.

Every one of the S. F. Nemorinos I have seen has radiated an immensely likeable persona. Yet, I believe that there were good reasons for thinking of Pavarotti, when hearing and seeing Vargas on stage, even though each of these tenors’ voices is distinctive and unique. Obviously, in each of these performances 39 seasons apart, the audience was hearing a lyric voice of great artistry at the tenor’s prime. But I think it was the combination of that attribute with each tenor’s self-effacing good humor and joyous exuberance that caused such memories to bob up.

A performance of Vargas’ caliber deserves colleagues who are equally adept at their roles. Albanian soprano Inva Mula, in her San Francisco Opera season, was an enchanting Adina. She showed superb vocal control, enhanced by an ability to produce the part’s demanding coloratura effortlessly.

[Below: Inva Mula is Adina; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.] 

Giorgio Caoduro, also in his San Francisco Opera debut season, was a hilarious Belcore. Looking smart in his army sergeant’s uniform, he seemed to meet the character’s physical description of himself as an incomparable specimen of manhood.

One of the running gags of this production is the appearance from the opera’s first scenes of a group of eight football players, clad in the ancient football uniforms that call to mind college photos of Knut Rockne or former U. S. President Gerald Ford ready for the Big Game. Caoduro’s Belcore immediately attracted the Napa footballers. In synchronization with Donizetti’s music, he repetitively drilled them in fake plays, and was rewarded for his attention by enlistments from the  group of them.

[Below: Giorgio Caoduro as Sergeant Belcore; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

In my remarks on San Francisco Opera’s Family Matinee “L’Elisir”, I suggested that it was possible for a Belcore to steal the show, as I believe that Eugene Brancoveanu indeed did (see: Family Matinee “Elixir of Love” at S. F. Opera - November 8, 2008).

However, “L’Elisir” has two delicious comedy parts, and Alessandro Corbelli, the third principal in his San Francisco Opera debut season, did what it takes to make a successful Dulcamara - mix Donizetti’s tongue-twisting patter songs with the gesticulations, deadpan reactions, double takes and other practices that were the stock in trade of vaudeville comedians. Of course, the audience realizes that the joke is on Dulcamara, as he begins to believe that his patent medicine actually does have an effect. (That does not prevent him from upping the ante on the extravagance of his claims for it.)

[Below: Alessandro Corbelli is Doctor Dulcamara; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

Stage director James Robinson, whose previous experience in San Francisco was perceptibly directing an otherwise unfortunate physical production of Bellini’s “Norma” (See Norma November 21, 2005 San Francisco), provided many opportunities for the characters’ high-jinks.

The ice cream that Nemorino sells clearly is comfort food, which he eats and shares with others. The audience watched as he peeled bananas, incorporating them into an ice cream sundae complete with whipped cream and maraschino cherry, which he ate before our eyes, without missing a note of his music. At one point Adina pretends to be suicidal, performing mock hara kiri with the ice cream scoop. When we see Adina and Nemorino sharing the ice cream truck goodies, we are reasonably certain that she will not really give this up to become Belcore’s army wife.

Perhaps Robinson saw the Opera National de Paris’ production photos of Paul Groves and Desiree Rancatore on motorized bicycles in the Laurent Pelly production of “L’Elisir” (see Hayseed Hilarity: The Pelly “L’Elisir” in Paris - September 16, 2007.) San Francisco’s Nemorino and Adina at one point position themselves (for no particularly evident reason) on Doctor Dulcamara’s motorcycle and side car, yielding the publicity photograph seen below.

[Below: Nemorino (Ramon Vargas) stands on Doctor Dulcamara's motorcycle to show off to Adina (Inva Mula) ; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

The new production was the first unambiguously successful production for San Francisco Opera by Allen Moyer. One of his previous efforts, Thomson’s “The Mother of us All” proved very controversial, and an unfortunate choice for opening night of the 2002 Fall season.

[Below: Allen Moyer's set for L'Elisir d'Amore, here the aborted Act II wedding festivities of Belcore (Giorgo Caoduro) and Adina (Inva Mula); edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

As noted in my review of his second effort, the November 2005 production of Bellini’s “Norma” was not just controversial – it was universally condemned (amazingly even by then San Francisco Opera General Director Pamela Rosenberg) – looking like the lathe section of a Home Depot lumber yard.

Fortunately, the “L’Elisir d’Amore” production, in which Nemorino ultimately becomes the most happy fella in the whole Napa Valley, was so attractive and enjoyable as to wipe the slate clean of the set designer’s previous misfires in San Francisco. Ultimately, I believe, the sets seen in San Francisco that should prove an enduring contribution to the popularity of live performances of “L’Elisir” in the United States.

[Below: the production's finale - Belcore and his Army recruits learn that the United States has entered World War I; edited image, based on a Terrence McCarthy photograph, courtesy of San Francisco Opera.]

With a bumper crop of Donizetti singers currently available, one can expect memorable future performances on these sets, even as one savors what a wonderful treat San Franciscans experienced in Fall, 2008.

Two of the production photographs shown below are from the Italian language “L’Elisir d’Amore” appearing at San Francisco Opera in repertory with two “family matinees” of the opera in English. The third is from the San Francisco Opera 2008 production of Portman’s “The Little Prince”. Production photographs of the family matinees will be added when available later in the month. The review of “L’Elisir d’Amore” will be posted soon.

San Francisco Opera, as part of its efforts to increase interest in live operatic performance among younger audiences, has developed the “family matinee”, which takes place at the opera house, utilizing the San Francisco Opera Orchestra and Chorus and the production sets from one of the main season operas. This year’s family matinee is Donizetti’s “The Elixir of Love”, an English translation of “L’Elisir d’Amore”, utilizing four current or former San Francisco Opera Adler fellows, in place of the “international” cast led by Ramon Vargas and Inva Mula.

[Below:  Allen Moyer's unit set for "The Elixir of Love" and "L'Elisir d'Amore"; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

The opera company has a long tradition of “student matinees” aimed at school-age kids, who might be bussed to the opera company as part of a school culture appreciation project, but the family matinees have a rather different focus. They are deliberately designed for parents, who themselves may never have attended a live performance of an opera, to enjoy the experience of introducing the art form to their children. 

It was a great pleasure to see the audience, filled with young children, many of them dressed in finery. Some of the kids seemed delighted, before the auditorium began to fill, with the accessibility of the War Memorial Opera House’s wide aisles to some discreet running and playing. But during the performances the entire audience was the model of decorum - quiet, respectful of the artists, and engaged in the show.

And what a show. The Donizetti comedy is one of the six great comedies by Italian composers of the first half of the 19th century that have maintained a place in the operatic repertory. Rossini’s “Barber of Seville” is the only one of the six to have more performances that Donizetti’s “Elixir”. (The others are Rossini’s “Cenerentola” and “L’Italiana in Algeri” and Donizetti’s “Fille du Regiment” and “Don Pasquale”.)

But of the six, only “Fille” and “Elixir” can really be described as romantic comedies, rather than Rossinian comic book farces, nor is there the conspiracy against the fortune of a man of means that in this century could be described as elder abuse that one finds in “Don Pasquale”. Nor are any of the other five populated by characters who are as human and accessible as the lovestruck Nemorino, or his adored Adina, or the two blustery comic characters, the vain Sergeant Belcore and the clever charlatan, Doctor Dulcamara.

(Since Donizetti’s “Fille” is a certain bet for an upcoming San Francisco Opera season, it would seem most appropriate, and, I would guess, rather likely, for the company to schedule family matinees of an English language “Daughter of the Regiment”.)

Two current Adler Fellows took the main roles. Oklahoma tenor Alek Shrader, earlier this season had a promising San Francisco Opera debut as Arbace in Mozart’s “Idomeneo”. Korean soprano Ji Young Yang was his heartthrob Adina.

Shrader, in addition to the two family matinee performances as Nemorino, is covering Vargas in that role also. In the past the “student matinees” often would simply be comprised of the “covers” - i.e., second cast performances identical (and in the same language as sung by the first cast.) But Shrader is required to sing “Elixir” in English and to be prepared to sing the role in Italian if he had to step into Vargas’ shoes. In addition, the stage directions for the English language family matinees and the regular performances differ in detail, so he must be familiar with both ways of doing things.

Yang, who also is playing the tsarevna Xenia in Mussorgsky’s “Boris Godunov”, which is in repertory with “L’Elisir” and “Elixir”, sings Adina in English in the two matinees, and covers Mula for the Italian Adina. But she also plays the seconda donna role, Giannetta, in all of the regular “L’Elisir” performances. With rehearsals, it means that Yang has clocked enough performances in the past month to be sure of ranking near the top of any list of the most number of San Francisco Opera performances by a principal singer in a 20 or a 30 day period.

[Below: Ji Young Yang (standing) as Giannetta in the Italian language performances of "L'Elisir d'Amore"; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

The principal buffo role, Doctor Dulcamara, was played by Dale Travis, who is now one of the better known baritones in the comic roles, appearing in both major and regional opera companies.  He proved adept at Dulcamara’s hilarious patter song, in which he makes extravagant claims for the medicinal effects of his hokum tonic. (Today, we could imagine a contemporary patter song about all the side effects of such a medicine, parodizing the lists of possible negative outcomes that Big Pharma ads on TV are required to include.)

Shrader and Yang both have leggiero voices at this stage of their careers, that were sometimes insufficient to carry Donizetti’s melodious vocal lines across the open orchestra pit into the outsized War Memorial Opera House auditorium, but they made an appealing couple and both likely will include Nemorino and Adina in their respective performance repertories.

One member of the cast, however, had the vocal power to conquer the large house - Eugene Brancoveanu, the Belcore.  Brancoveanu has been impressive in all of the roles in which I have seen him at San Francisco Opera, whether in a starring assignment, such as Frank in Johann Strauss’ “Die Fledermaus” or in comprimario roles such as Marullo in Verdi’s “Rigoletto”.  (Even the most devoted fans of live opera performance would rarely remember a Marullo, but Brancoveanu instantly became the center of attention, outshining the unfortunate Duke of Mantua in the company’s 2006 production.) 

[Below: Eugene Brancoveanu, here in Portman's "The Little Prince", edited image, based on photograph, courtesy of San Francisco Opera.]

My report on the main cast of “L’Elisir” will follow - a performance which equalled the greatest of casts in an opera for which San Francisco Opera has been legendarily memorable through the decades. Yet, even though my review of Giorgio Caoduro’s Belcore will be appropriately ecstatic, it is my belief that Brancoveanu could take his place in the main cast here, or in any “L’Elisir” cast throughout the world and hold his own.  The San Francisco Opera, with both Caoduro and Brancoveanu in house, has two Belcores of international caliber, although only the former has had the recognition to date.

The character Belcore thinks of himself as the most elegant example of masculinity alive. Brancoveanu’s performance showed the poise and virility that makes us believe that Belcore will indeed have his way with the ladies, even though we are pleased that Adina sees through him. Brancoveanu’s athleticism, noted in the “Fledermaus” was in evidence again as he did peerless straight-arm pushups while convincing Nemorino to enlist. (This was not part of Caoduro’s performance in the main cast.)

The English translation of the opera by Donald Pippin was revised and abridged by Director of Music Administration Kip Cranna. The performance was the occasion of the San Francisco Opera debut of the conductor, Giuseppe Finzi, who will also conduct the two final performances of Puccini’s “La Boheme” after its first conductor (and music director designate), Nicola Luisetti, departs. With Finzi and Bruno Campanella sharing responsibilities for the Donizetti and Luisetti and Finzi for the Puccini, it means the remainder of the Fall 2008 season will under the custodianship of conductors from Italy.

For previous reviews of performances by Eugene Brancoveanu cited, see: “Die Fledermaus” in S. F. - September 16, 2006 and,

Gavanelli Dominates Strongly Cast S.F. “Rigoletto” - October 15, 2006

This is the third post in an ongoing quest for productions of the operas of Gaetano Donizetti that has taken me to Donizetti’s home town of Bergamo in Lombardy for background, and, for performances, to Paris (for Laurent Pelly’s production of “L’Elixir d’Amour”) to Zurich (for “Don Pasquale”), to Houston (for “Fille du Regiment”), to San Diego (for “Maria Stuarda”) and to San Francisco (for “Lucia di Lammermoor”).  

There was even a side trip to Pittsburgh to enjoy an early success (”I Capuleti e i Montecchi”) of the person who regarded himself as Donizetti’s rival - Vincenzo Bellini.  Below is a list of recently attended or upcoming productions of Donizetti operas for which I will be posting reviews.

L’Elisir d’Amore (Donizetti), San Francisco Opera, October 29, November 2 (m), 4, 7, 12, 15, 2008 

This new production is a collaboration between Opera Colorado (Denver), Boston Lyric Opera, Pittsburgh Opera, Fort Worth Opera and Michigan Opera Theatre (Detroit), and has already been seen in some of the collaborating cities. James Robinson is director, Allen Moyer Set Designer and Martin Pakiedinaz is Costume Designer.

[Below: Alessandro Corbelli as Doctor Dulcamara; edited image, based on Terrence McCarthy photograph, courtesy of San Francisco Opera.]

The production provides an opportunity for Ramon Vargas to appear in San Francisco for the first time in almost a decade in one of his signature roles, Nemorino, and for three S. F. Opera debuts: Inva Mula (Adina), Giorgio Caoduro (Belcore) and Alessandro Corbelli (Dulcamara). Bruno Campanella conducts.

Lucrezia Borgia (Donizetti) Washington National Opera, November 1, 5, 7, 9 (m), 11, 15, 17, 2008

It is doubtful that had Giuseppe Verdi not been a devotee of this opera, that his “Rigoletto”, another opera about Renaissance Italy that was strongly influenced by Donizetti’s work, would sound the way it does.

Renee Fleming (November 1, 5, 9 and 11) and Sondra Radvanovsky (November 7, 15, 17) split the responsibility for the title role character in this opera whose popularity surged in the 1970s as a vehicle for Sills, Sutherland, Caballe and Gencer.

[Below: Maffio Orsini (Kate Aldrich) argues with Gennaro (Vittorio Grigolo), as Gennaro's mother, Lucrezia Borgia (Renee Fleming) looks on; edited image, based on Karin Cooper photograph, courtesy of Washington National Opera.]

Vittorio Grigolo takes on the role of Gennaro, Ruggero Raimondi is Don Alfonso and Kate Aldrich is assigned the plum role of Maffio Orsini, and with that assignment, a famous show-stopping aria.

Placido Domingo conducts. John Pascoe is stage director and production designer. That this is a new production with stellar casts and Domingo’s personal sponsorship, suggests that this fascinating opera will have a new lease on life in the United States.

The Elixir of Love (Donizetti) for Families; San Francisco Opera, November 8 and 15, 2008

San Francisco Opera General Director David Gockley has transformed the “student matinee” into a “family matinee” in which children and the adults who accompany them are invited to explore a full-scale operatic performance in the beautiful War Memorial Opera House. The greatest of early 19th century Italian romantic comedy operas is presented in English (with English supertitles), with the principal cast selected among current and recent Adler Fellows, and with the always impressive San Francisco Opera Orchestra and Chorus. 

Ji Young Yang is Adina; Alek Shrader is Nemorino.  Eugene Brancoveanu, a favorite of this website, is the Belcore, and Dale Travis is Doctor Dulcamara. Italian Conductor Giuseppe Finzi, who will share “La Boheme” with Music Director-Designate Nicola Luisetti, is at the podium.

For the performance review, see: Family Matinee “Elixir of Love” at S. F. Opera - November 8, 2008

Roberto Devereaux (Donizetti), Dallas Opera, January 23, 25, 28, 31, 2009 

Like “Maria Stuarda” a docu-opera about Elizabeth I’s court - this one about the Earl of Leicester’s stepson and protege, Robert Devereux, the Earl of Essex.  That Devereux’s intrigues led to his beheading, while Leicester did all the things he did and died a natural death, makes one appreciate how skilful Leicester was at reading the Virgin Queen.

[Below: A scene from the Lawless-Dugardyn production of Donizetti's "Maria Stuarda" at the Dallas Opera; edited image, based on photograph, courtesy of Dallas Opera.]

The Dallas production will star Hasmik Papian as Elisabetta, Stephen Costello as Roberto, and David Kempster as Nottingham. The team of Benoit Dugardyn (sets) and Stephen Lawless (direction), who produced Donizetti’s “Maria Stuarda” for Dallas in January 2007, return for this production.  (A review of the Lawless-Dugardyn production of Verdi’s “Il Trovatore”, seen at San Diego Opera in April 2007, may be found on this website.)

L’Elisir d’Amore (Donizetti), Santa Fe Opera, July 4, 10, 15; August 6, 12, 20, 25 and 28, 2009

Santa Fe Opera will not have performed this staple of the Italian repertory for 41 years, but next summer creates a new production for three of the alumni of the Santa Fe Opera with successful international careers - Dimitri Pittas (Nemorino), Jennifer Black (Adina) and Patrick Carfizzi (Belcore). John Del Carlo makes his company debut as Doctor Dulcamara. 

Debuting Jerry Zaks will be the stage director and Thomas Lynch the scenic designer. Corrado Rovaris will conduct.

For the previous posts on this subject, see: In Quest of Donizetti - A 2007-08 Itinerary and In Quest of Donizetti - A 2008-09 Itinerary