Date: June 26, 2010
Conductor: Lü Jia
Director: Franco Ripa di Meana
Location: The National Centre for the Performing Arts (The Egg), Beijing.
Closing out this year’s NCPA Opera Festival was Elixir of Love, Donizetti’s opera about a poor peasant falling in love with a beautiful landowner.
Brilliantly crafted by stage director Edoardo Sanchi, the set provided a cheery platform on which Donizetti’s comic elements were realized. Dulcamara’s entrance was faithful to the script, as the comic quack was descended in a keg-like wicker basket – figuratively attached to a painted cardboard balloon, and hung spectacularly in mid air via the stage’s fly system. Props and set pieces moved across the stage in parallel to the proscenium front, and often times without masking. But such nakedness allowed the music to flow while allowing the audience to keep abreast of the changing set. This was especially evident in the Act I sequences in which the drama switched between the peasantry public and Adina’s more privileged abode.
Huang Ying, having previously sung Giannetta at the Met opposite Angela Gheorghiu’s Adina, debuted as Adina, the beautiful landowner with which Nemorino the poor peasant fell in love. Her acting was cute but never corny, as many Adina would tend to be. Vocally, the Chinese soprano held beautiful trills, while her tonal voice beamed with an Italianate brightness and mellowness. Her rendition of Prendi, per me sei libero, was simply sublime, for which she received handily the most enthusiastic audience applause of the evening.
Guan Zhijing, whose fine acting made his Dulcamara quite lovable, also delivered plenty of nice, aggressive vocal lines. Belcore was sung by Yang Xiaoyong, whose strong, powerful voice provided much gravity and anchor weight to the evening’s music. Rounding out the supporting cast was Ma Min, whose Giannetta was cute and mischievous, and whose singing was supple, infused with an adorable, quintessentially bel canto beauty.
Nemorino was sung by Fan Jingma, who sounded nervous during his first big number, Quanto è bella, quanto è cara. His delivery was throaty and weak, and didn’t really pick up substance until, perhaps sensing some urgency, Una furtiva lagrima, which was solid but nevertheless uninspiring. After the famous romanza, his voice was set ablaze, as if the burden of that big aria was finally out of the way, and proceeded to show hints of what I believe to be his real forte – a lirico spinto voice that is more suitable for heavier roles in the repertoire.
Giuseppe di Iorio’s lighting was a highlight of the evening, especially during Nemorino’s big Act II aria, where a melancholic shade of violet purple provided the background to a white light-lid, art deco moon backdrop. That shade of purple slowly turned into a more lively maroon blue, just as Adina began her confession aria, as if breathing life to Nemorino’s deflated ego.
The biggest trouble of the evening remained in the pit. There were multiple times when Lü Jia had a rough time trying to synchronize what was sung on stage and what was played in the pit. In Che vuol dire codesta suonata, the opera’s main chorus number, the conductor was basically scrambling to put together coherence, which was clearly absent as the orchestra was at least a full beat slower than the chorus. Nevertheless, there were pockets of brilliance, including the bassoon solo during Nemorino’s Act II aria, which handed in a solemn, measured rendition that was as delicious as anything I’ve witnessed for that piece of music. There were some fantastic oboe and flute lines, too, but they were small consolations to what sounded like a train wreck from the pit.