Rolando Villazón as Nemorino exhibits a real gift for comic acting, manipulating his rubber face into dozens of hilarious poses, flawlessly turning stock comic gestures into laugh-out-loud moments, and even juggling apples with the panache of a circus performer. More important, he uses his lyric tenor to sing the part with impressive subtlety, suggesting Nemorino's desperation while singing of his love for Adina. His big show-stopper, "Una furtiva lagrima," features melting pianissimos and a breathtaking decrescendo in its final phrase. Netrebko's Adina is every bit as good, with deft acting and a lovely lyric soprano voice that makes you understand why she's the only girl for Nemorino.
This black-and-white, wonderfully old-fashioned film of a live performance of L'elisir d'amore, complete with faded painted backdrops and no attempt to update or "make relevant" this delicious work, is, well, delicious–gorgeously sung and charmingly acted. The pedigree is impeccable. I can't recall a recent performance of an Italian opera with all-Italian forces, including conductor, and at the risk of sounding chauvinistically Italian, there really is something elegant and natural about an entire cast steeped in the language, rhythms, and idiom that keeps the Italian-opera tradition alive.–Robert Levine, ClassicsToday.com
The Decca performance of the Donizetti comic masterpiece L'Elisir d'amore is simply the best ever put on record. With the incomparable trio of Sutherland/Pavarotti/Bonynge at the peak of their careers, this performance of L'Elisir is one that you will turn to again and again – sheer delight from the first moments of the overture to the grand finale. One has to admit that some of Pavarotti's later performances can be difficult to listen to because of the strain in the voice, but not a hint of strain mars his performance here…
When Donizetti’s comedy, updated to the mid-20th century by the Uruguayan-born director Mario Gas, was mounted at Barcelona’s magnificent Liceu opera house in 2005, Opera News wrote that: “The absolute hit of the production was … Rolando Villazón, a commanding, vulnerable and hilarious Nemorino. His stage presence dominated every scene he was in …[and] his lovable innocence was a joy to behold. Villazón’s perfect technique and creamy, malleable voice conquered the audience … His athletic and expressive body language–midway between Cantinflas and Mr. Bean–fits this role and this production perfectly.” The Mexican tenor, making his debut at the Liceu, was called upon the encore the opera’s most famous aria, the plaintive ‘Una furtiva lagrima’.
Frank Dunlop's witty, unvarnished view of Donizetti's country comedy, updated to the 1930s, is delightful to see, wondrous to hear. Gheorghiu and Alagna make an ideal partnership as capricious girl and shy bumpkin. They both act and sing their roles to near perfection in a staging that exposes the heart and heartlessness as much as the fun of this work.
This marks Rolando Villazón’s directorial debut in a dual-role: stage director and star singer (main role Nemorino) at the same time, and it is a clear WINNER. Inspired by the cartoon character Lucky Luke and the Spaghetti Western-tradition, the tenor’s staging for the Baden-Baden Festspielhaus is not only a film studio in the thirties but also a Western at the same time. Lead by the dynamic young conductor Pablo Heras-Casado, who “…conducts very singer friendly” (Online Musik Magazine). Extraordinary visual production, and one of the most memorable European operatic events of 2012.
Acclaimed Italian conductor Maurizio Benini makes his Glyndebourne debut in Donizetti’s intoxicating and deeply touching opera, whose fast-moving comic story unfolds the romantic rivalry between penniless farmhand and bumptious soldier, both vying for the love of Adina. Will the bogus Dr Dulcamara’s potion – the elixir of love – help farmhand Nemorino win her heart? Peter Auty takes the role of Nemorino with Ekaterina Siurina as Adina. Recorded in High Definition and true surround sound.