Est 1923

Donizetti L'Elisir d'Amore (in English)

Record and Artist Details

Composer or Director: Gaetano Donizetti

Genre:

Opera

Label: Opera in English Series

Media Format: CD or Download

Media Runtime: 133

Mastering:

DDD

Catalogue Number: CHAN3027

Tracks:

Composition Artist Credit
(L')Elisir d'amore, 'Elixir of Love' Gaetano Donizetti, Composer
(Geoffrey) Mitchell Choir
Andrew Shore, Dulcamara, Bass
Ashley Holland, Belcore, Baritone
Barry Banks, Nemorino, Tenor
David Parry, Conductor
Gaetano Donizetti, Composer
Helen Williams, Giannetta, Soprano
Mary Plazas, Adina, Soprano
Philharmonia Orchestra
L’elisir d’amore has given a great deal of enjoyment in its time, but speaking personally I cannot think of a performance I have enjoyed more than this one. ‘Prima la musica’ no doubt, but in this instance the words should perhaps take their share of the credit first. The English version is by the late Arthur Jacobs, who was an expert on Arthur Sullivan; what he has done here is to provide a translation that might almost be the work of W. S. Gilbert. A resourceful vocabulary and a keen ear for verbal rhythms are its main technical assets, and a natural sense of humour rather than the untiring facetiousness of a self-conscious clever-dick is the source of its wit. Dulcamara (‘my learning academical, both physical and chemical’) is of course a Gilbertian figure to start with, so the translator is not forcing an entrance for his hobby-horse, and though he makes free with the Italian (the original verses of the finale, for instance, have nothing about protecting dogs from rabies), his inventions are all in the spirit of the thing – as, in those same verses on the power of the potion (and remembering Nemorino’s sudden inheritance), are the assurances that ‘It will give you cheeks like peaches/To conform with good aesthetics./It improves a woman’s features/Better far than her cosmetics./Cures your warts and your carbuncles/ And dispatches wealthy uncles.’
The Gilbertian element emerges again when Andrew Shore, in the Barcarolle, sings his part of ‘elderly Senator’ in the tones of Sir Henry Lytton. Generally he gives a well-sung, gracefully-turned portrayal of the mountebank, as does Ashley Holland for Sergeant Belcore. The lovers have light, well-matched voices, Mary Plazas avoiding the pert, hard character-note and vocal tone that can make Adina so unsympathetic, and Barry Banks giving particular pleasure with the freedom and clarity of his upper notes. The Geoffrey Mitchell Choir sounds alert, precise and fresh-voiced as ever, and the playing of the Philharmonia under David Parry calls for special remark: from the Overture onwards (with its delightfully chirruping woodwind) there are passages in the score that find a flavour, their own by rights but usually lost because not sought-out.
The booklet contains a lively essay by AB, and the recording is dedicated to the memory of Sir Geraint Evans. It is one of the series’ best.'

Donizetti L'Elisir d'Amore (in English)

(L')Elisir d'amore, 'Elixir of Love'

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