Anna Netrebko: L'Elisir d'Amore, Met, NYC 2. Feb 2013

Tuesday, February 5, 2013

L'Elisir d'Amore, Met, NYC 2. Feb 2013

L’ELISIR D'AMORE
Gaetano Donizetti -- Felice Romani

Met, New York City 2. Feb 2013

LEADING TEAM
Maurizio Benini: Conductor
Bartlett Sher: Stage Director
Michael Yeargan: Set Designer
Catherine Zuber: Costume Designer
Jennifer Tipton: Lighting Designer

CAST
Anna Netrebko: Adina
Matthew Polenzani: Nemorino
Mariusz Kwiecien: Belcore
Erwin Schrott: Dulcamara
Anne-Carolyn Bird: Giannetta
Chorus and Orchestra of the Metropolitan Opera

REVIEWS

L'elisir d'amore, Met, NYC 2. Feb 2013
Written by: Yige Li

I went to NYC last Saturday (Feb. 2) for L'Elisir again. And this was one of the most amazing performances I've ever attended! It's the same production with almost same singers, but a lot of things onstage was changed (which is strange, for I don't think they could have a lot of time for rehearsal before the spring run to really try out these changes), and the result was very different. I still prefer the cast last fall as a whole, but for Anya alone, the performance this time was more exciting. She was in great condition and very great mood, I suppose. Her body was relaxing, running and jumping and dancing onstage in an absolutely free style. (Of course she always gave audience the impression of being free and relaxing onstage. But compared to this, the Oct. 13, 2012 performance was a little bit more calculated. This is understandable. If she had performed this way in the HD-broadcasted performance, I'm afraid those who controlled the cameras would have a really hard time to catch and focus on her.) This kind of relaxing and freedom also reflected in her singing. Surely she now has a dark and heavy sound which is not typical for Adina. But in one minute, one could forget all these, only knowing it's THIS Adina with THIS voice. Also she did lighter her voice to fit in the ensemble. I realize this only because I've experienced the power of her sound before. Based on her sound on Saturday alone, however, I didn't sense any effort. She just sang very intuitively with ease. If this kind of "lighting" voice didn't hurt, and if she still enjoy singing this kind of roles, I would say she doesn't need to drop off all the "-ina" roles. Frankly speaking, I've never thought a comic could be as emotional taken as a tragedy. But this one made me hesitate. It seems no work was done, everyone on- and off-stage was simply opening the heart and enjoying it. This was really an experience!

PHOTOS