⭐⭐⭐⭐

Dan D'Souza as Belcore and Rhian Lois as Adina in ENO’s The Elixir of Love 2024 © Marc Brenner

In Harry Fehr’s new production of The Elixir of Love, set on the backdrop of World War II, Donizetti’s lyrical, bel canto score lends itself surprisingly well to the British patriotism of the 1940’s. Framed as a TV sitcom episode set in a country house, the ENO Chorus are land girls and estate workers and Adina is a landowner being courted by the gentle, conscientious objector Nemorino and the entitled military officer Belcore.  

The creative team leaned in to the ‘TV-ness’ of the production, and with vibrant costumes and a detailed set, set designer Nicky Shaw, costume designer Zahra Mansouri and lighting designer Mark Jonathan have created a highly saturated, technicolour version of rural life at that time. 

Amanda Holden’s translation almost leads one to believe that this opera should always have been sung in English. This is most apparent in Dulcamara’s patter, sung by Brandon Cedel; the wit and rhyme Holden has imbued into the English libretto makes the audience question whether they are watching a 19th century Italian opera or a Gilbert and Sullivan operetta.  

The production does not push the comedic elements too far, though, and the entire ensemble, (including the ENO chorus who are in glorious form) create a warm and lively tone that carries the production.  

The cast of The Elixir of Love at English National Opera | Photo: Marc Brenner

Thomas Atkins is delightful as the naive and love-forlorn Nemorino; his ‘Una furtiva lagrima’ in Act II is elegantly sung, and provides a tender moment amid the japes and jollities of the rest of the show. His chemistry with Rhian Lois as Adina builds throughout, and together, their singing is crisp and joyful and their relationship is lovely to watch.  

Atkins is sometimes lost under the orchestra, however. Teresa Riveiro Böhm leads from the pit with the lively and sunny ‘Dad’s Army’ spirit of the production, but this often means tempi feels a little insecure and the volume overwhelms the singers on stage.  

Lois sparkles as Adina, and in an opera where women are largely portrayed as fickle gossips, she plays the leading lady with both humour and depth, and her voice only improved throughout the performance. She is also a former Harewood artist, and it is always exciting to see homegrown talent shine on a London stage. 

Donizetti’s characters who feign indifference to entice the objects of their affection, sit around the table listening to local gossip or refuse to confess their feelings until they are certain of how someone else feels have an eternal relatability, and this production is a testament to this. The Coliseum at points feels too big for some of the lighter singing, but Fehr and his team bring characters from 19th century Italy to 40’s England with a warmth and intimacy that make it remarkably fresh and accessible. 

Until 5 December. eno.org