Waterperry Opera/Charles Court Opera/David Eaton
Wilton’s Music Hall, London E1, 14 September
Donizetti’s evergreen opera The Elixir of Love moves from sunny Italy to English apple country in Waterperry Opera’s effervescent production, first seen in the Oxfordshire festival this summer and now showing in a very different setting – Wilton’s Music Hall in east London, writes Stephen Pritchard.
Taking the apple theme, the quack Dr Dulcamara claims cider is the basis for his weird concoctions, giving hard-working librettist David Eaton – he is also music director and pianist – plenty of scope to have fun with rumpy-pumpy/scrumpy rhyming lyrics.
Not that Eaton is the only one working hard. This young cast is giving eight performances a week at Wilton’s. That’s far more than most opera companies would demand of their singers. Physical and vocal fatigue must never be far away, but it’s difficult to detect, such is the enthusiasm of these energetic performers.
Kathy Macaulay, Maria Wotherspoon and Charlotte Du Cann. Photo: Craig Fuller
But like any decent cider, this production takes time to ferment and doesn’t really bubble until Dulcamara makes his eccentric entrance, promising a cure for all ills and moods. Orchard worker Nemorino, renamed Norman in this thoroughly English version, longs to find the courage to woo Adina (Addie), who runs her own chocolate factory. Tenor Xavier Hetherington, as Norman, sings with winning clarity and conviction but with a voice almost too big for the small confines of Wilton’s; he can afford to pull back a bit. Soprano Madeleine Robinson makes a charming Addie, her voice as nimble as her agility on stage.
Poor Norman’s hopes look dashed when the US Army Air Force arrives, determined to woo their way into the hearts of the chocolate factory women.
Elixir is one of those pieces that can be set in any period: in 2024, ENO chose the second world war, with RAF men swooping in, while last year Garsington set it in Italy just after the war, with American servicemen still stationed there. This production brings us right up to present-day politics: when the airmen are suddenly called away it is to prepare for a campaign to capture Greenland for Donald Trump.
Xavier Hetherington as Norman and James Geidt as Belcore. Photo: Craig Fuller
Belcore, here renamed Brad, the officer in charge of his randy men, is sung by baritone James Geidt, all dark glasses and machismo, with a commanding voice to match. There’s some delightfully bright singing from soprano Maria Wotherspoon as Gianetta (Ginnie), who joins forces with energetic chorus sopranos Charlotte Du Cann and Kathy Macaulay in enjoying the attentions of the airmen Ambrose Chiu (tenor), Charles Secombe (tenor) and Ben Gilchrist (baritone). The standout performance of the evening belongs to baritone Matthew Kellett, as the dodgy Dr Dulcamara, a dream of a part for this gifted comedian.
John Wilkie directs with admirable economy on this tight stage, ably assisted by assistant director Em Sparkes. Attractive designs and costumes from Ceci Calf are lit by Nell Golledge, and choreographer Merry Holden works wonders with so little space.
The Elixir of Love is sung in English. It runs until 19 September