Mixing a Pleasant Potion with ‘L’Elisir d’Amore’

It was a grand night Saturday at the Dorothy Chandler Pavilion. Los Angeles Music Center Opera was unveiling a handsome if sometimes eccentric new production of Donizetti’s “L’Elisir d’Amore” (The Elixir of Love), which it created with Grand Thea^tre de Geneve. But L.A. was getting it first.

It was well sung, well acted, well conducted and well played. It did not efface memories of, say, Luciano Pavarotti and Kathleen Battle. But it was not star-dependent nor star-struck either. The ensemble values were high, and everyone onstage contributed to the success.

Director Stephen Lawless envisions a real farm operating in early 19th century Italy. (The opera was written in 1832.) Peasant life, however, is timeless.

This is no pastoral idyll. Half the action takes place claustrophobically inside the farmhouse, in front of huge, wooden arched gates that can be barred against heat, searing light and possible intrusion.

By what?

The military can be a real threat. Until they’re identified as friendly, the troops are locked out. The soldiers are prevented from humiliating the bumpkin-hero at the end of the first act only by the intervention of the good-hearted seconda donna. The villagers show their solidarity in defending him.

And the villagers also labor. They sweat, they fan themselves, they pick hay off their clothes. None of this, fortunately, is pushed to the point of a political tract, however. Lawless knows how to balance his comedy and realism.

As do his singers.

*

Making his first appearance with the company, Ramon Vargas sang Nemorino with ardor, eloquence and style. The voice is pure, dark and somewhat narrow, and it was overpowered in ensembles and by the orchestra. His acting was sweet, direct and appealing.

Singing Adina for the first time, in addition to making her company debut, Alison Hagley revealed silvery and aristocratic tone and substantially etched if not ideally light and easeful fioritura.

Dressing her a bit like Anna in “The King and I” overemphasized the class distinctions among the villagers. But her acting, her transition from apparent indifference to love of the hero, took place in affecting and credible stages.

Anyone who saw him here in such serious roles as Don Giovanni or Mozart’s Count could hardly imagine the comic flair that Thomas Allen brought to Dr. Dulcamara, which he also was singing for the first time.

He created a finely detailed portrait in which every nervous tic, wide-eyed glance, sly hand gesture or quick-witted response registered credibly without ever turning into caricature.

Looking a little like a handsome John Cleese of Monty Python fame, Gerald Finley sang and acted his first Sergeant Belcore with strength, poise and appropriate swagger.

Laurinda Nikkel was the bright-voiced, good-hearted Giannetta.

In his Los Angeles debut, Gabriele Ferro, principal conductor of the Stuttgart State Opera, presided over singers, orchestra and chorus with loving attention and style.

In his first designs for the company, Johan Engels created the heavy interiors and the wonderfully open hayfield outside. They were gorgeously lit by Paul Pyant to suggest passing of time, changes in weather and, even better, endless vistas just out of sight.

* The Los Angeles Music Center Opera will present Donizetti’s “L’Elisir d’Amore” with the same cast Wednesday, April 30, May 3 and 5 at 7:30 p.m. and April 27 at 1 p.m. at the Dorothy Chandler Pavilion, 135 N. Grand Ave. $22-$120. (213) 365-3500.