L'Elisir d'Amore
Met Opera, New York

At the end of Matthew Polenzani's aria Una furtiva lagrima, you could almost hear the pin drop before the audience erupted into rapturous applause.  The prolonged applause put a pause to the show.  Polenzani could not but came out of character and beamed with pleasure and gratitude.  You know you have witnessed a truly magnificent production.  This new production at the Met has a traditional setting in 19th century Italy.  Visually less interesting that the ENO production I saw 5 years ago but otherwise it is superior, in the main due to a stellar cast, notably the amazing Anna Netrobko.  This is the first time I've seen her perform (no less due to no shows by our notorious diva) and I've fallen in love with the power and dark colourings in her voice.  Her Adina was impetuous and flirtatious and her singing full of body.  Polenzani's Nemorino was likeable and adorable although at times a little stiff.  There was a strong chemistry between the leads.

The tempo was erratic in the first few scenes but the orchestra warmed up under Benini's rousing and spirited conducting.  Director Bartlett Sher has a flair for comedies.  His La Comte Ory last year was hilarious and in the same vein he made this romantic comedy a truly enjoyable evening.  The stage bustles with energy and it all comes to a halt for the aria made famous by Pavarotti.  Sher could have juiced up the simple storyline with a bit of inventiveness such as ENO's 50s American diner setting.  It being a Met production, one cannot help but be disappointed by the simple painterly set.  The only creativity appears to the riding hat that Adina wears to complement her independence and gutsy confidence.  With such superb singing, all is forgiven.