L’ELISIR D’AMORE. Director: Magdalene Minnaar. Musical Director: José Dias. Cast: Juan Hernández, Brittany Smith, Van Wyk Venter, Conroy Scott and Linda Nteleza. Photographs: Kim Stevens. At Theatre on the Bay.
BEVERLEY BROMMERT reviews
Crisp, sweet and light as a meringue, Cape Town Opera’s current version of Donizetti’s bel canto masterpiece is designed to offer its audiences uncomplicated pleasure – which it does on several counts.
A romantic, whimsical plot; likeable personae; exquisite arias and duets sung to nuanced accompaniment from sure-fingered pianist José Dias; a 1930’s look to set and costumes both stylish and sporty: these are some of the identifiable delights of this scaled-down production of L’elisir d’amore from Magdalene Minnaar for CTO.
The mark of able direction is a balance between lead characters, and herein Minnaar’s skill is apparent, as none of the four major protagonists is allowed to upstage any of the others. All four dominate serially whenever they take centre stage, while ensembles of varying size also permit individual executants to shine.
Juan Hernández convinces effortlessly as Nemorino, the unlikely hero of the opera: portly, gauche and bespectacled, his triumph over his athletic rival Belcore, portrayed with authority by Van Wyk Venter, is as welcome as unexpected, to gratify that universal sympathy for the underdog.
Potent aphrodisiac
Soprano Brittany Smith continues her steady ascent as a soloist of note, interpreting the luscious Adina with wit and intelligence; her maturing voice achieves ever greater subtlety, especially in pianissimo rendition.
As for the fourth “leg” of the main quartet, bass/baritone Conroy Scott, as the grotesquely costumed magician Dr Dulcamara, provides the bold, tongue-in-cheek characterization requisite for this unprincipled rogue.
The cynical truth emerges that in most cases, it is wealth, not a magic elixir, which proves the most potent aphrodisiac … except for the well-heeled Adina.
Not for nothing does Hernández’s rendition of the opera’s best-known aria, Una furtiva lagrima, bring the house down. He may not be Caruso (who first brought this memorable piece to fame), but his full-throated performance is deeply pleasing.
Total enjoyment
Movement is important in L’elisir, as its crowd scenes involve dancing and festivity, and here Fiona du Plooy’s contribution as movement director proves invaluable in the limited space of a petite venue like TOB. This theatre’s intimacy and clear acoustics more than compensate for the latter disadvantage, less apparent in a bonsai production like this. Minnaar’s placing of the accompanying piano centre-stage is inspired: it not only saves space, but serves as a reminder that music is central to the enjoyment of the work.
Speaking of enjoyment – after all the fun, less-than-discreet naughtiness, and lustrous singing, it is only an inveterate grouch who could leave the theatre in ill humour.
What: L’elisir d’amore (The elixir of love)
Where and when: Theatre on the Bay in Camps Bay from 13-16 October 2022.
Tickets: Computicket
WS
