Interludes

VIEWPOINTS – Nights at the opera: A tenor wows in his Met debut in L’ELISIR D’AMORE and the last days of a monumental AIDA

• By drediman
• April 28, 2023
• No Comments

Over the past week or so, I twice paid a visit to the Metropolitan Opera to take in two staples of the repertoire. Read on for my thoughts.

L’ELISIR D’AMORE
The Metropolitan Opera
In repertory through April 29

About a week back, I spent a perfectly lovely Sunday afternoon at the opera to revisit Bartlett Sher’s charming, perfectly-sized production of Donizetti’s L’Elisir d’Amore (HIGHLY RECOMMENDED), opera’s version of a romantic comedy, if there ever was one. Leading the way as the string-willed Adina was soprano Aleksandra Kurzak, who drove the plot forward with her ample charisma and buoyant personality. Even if her singing was a bit breathy in places, her overall portrayal sparkled. But the big news, however, was the discovery of Spanish tenor Xabier Anduaga, who hit it out of the ballpark in his Met debut. The classic timber of his instrument effortlessly — reminiscent of the great José Carreras in his prime — navigated Donizetti’s virtuosic score, showing complete control in both the softer, more sensitive vocal passages, as well as the all-out emotional bits. Anduaga also exuded a warm, genial stage presence that was refreshingly free of histrionics. Surely, a star is born in this young tenor. Other standouts included the uncommonly well acted contributions of baritone Joshua Hopkins as the boastful Sgt. Belcore, as well as bass-baritone Alex Esposito as the Pirelli-like Dr. Dulcamara. In the pit, Michele Gamba — also in his Met debut — conducted with confidence and finesse.

AIDA
The Metropolitan Opera
In repertory through May 18

Then just last night, I returned for one last time to take in Sonja Frisell’s monumental Zeffirelli-era production of Verdi’s Aida (RECOMMENDED), which plays its final performance next month (the 2024-2025 season opens with Michael Mayer’s new production of the warhorse). A remnant from the Met of old, the beloved production is grand opera incarnate, complete with massive naturalistic sets and a small barnyard of live animals. But apart from the magnificent spectacle and pageantry of it all, this soon to be retired Aida adhered firmly to the “park-and-bark” philosophy of opera performance, a mode that was especially noticeable when seen side-by-side with a production as inherently theatrical as Bartlett Sher’s L’Elisir d’Amore. Vocally, yesterday’s performance was sturdily sung all around. In the title role, Angela Meade’s powerful soprano easily cut through and floated above the bombast of the orchestra. The same can be said of mezzo-soprano Olesya Petrova, who proved to be an ideal counterpoint to Meade as Aida’s rival Amneris. Although not quite the singer he once was, tenor Marcelo Álvarez’s valiant performance as Radamès thrilled with its fearless sense of abandon. Maestro Paolo Carignani drew a lucid reading of Verdi’s score from the mighty Met orchestra.