L'Elisir d'Amore

A problem with listening to Met broadcasts from this end of the world is that very often - in fact more of the time - the broadcast opera constitutes the very first time I've heard a singer. And if not the first, perhaps only the second or the third. The fact is that down here, down under, the only way to become properly acquainted with a singer is via his or her recordings: and lord knows there are legions of fabulous singers whose Deutsche Grammophon contracts are still to come. Which means that often, listening to the broadcast, I'm making judgements not just on the performance, but on the performers themselves. A far from ideal situation.

Which is why it's wonderful now and again to hear somebody I do know. During L'Elisir d'Amore this afternoon I didn't need to decide how I felt about Ruth Ann Swenson: that decision was made long ago. All I had to think about was how much I liked her Adina. And I liked her a lot. Ruth Ann has never been a knee-weakening passion for me, but all the same I've had a calm and abiding affection for her for years. Of course, live radio Ruth Ann is quite a different animal from studio Ruth Ann, and I confess I mightn't have recognised her if I'd just stumbled across this on radio. Still there's a certain familiar pearliness which reminded me I was listening to - so to speak - an old friend. I'm never destined to rave about Ruth Ann as I might (and have) about some others, but I also doubt I'll ever say a word against her. I thought she made a delightful Adina. Her coloratura is still gorgeous, her singing comes with a smile, and I loved her high notes. If this had been my introduction to Ruth Ann, she'd have left an excellent first impression.

Speaking of excellent first impressions: Ramon Vargas' mellifluous Nemorino definitely made one on me. Rich, resonant tone and legato tasty enough to eat. Of the two Mexican RV tenors, I like this one the best.

Among the rest of the cast, Andrew Shore as Dulcamara stood out for me. His is in fact another voice I know, though not so well as Ruth Ann's: he takes the title role in the Chandos Opera in English recording of Falstaff, the only Falstaff I own. There, as here, he strikes a pleasing balance between out-and-out comedy and solid, appealing vocalism. Peter Coleman-Wright is a name I recognise, though I can't figure out why. However he's from Geelong, so perhaps I've seen him on cast lists during my (many) hours spent chez Opera Australia. In any case his Belcore was a bit stiff for me, not as suavely sung as the character's self-adoration would seem to require. Alyson Cambridge seemed fine to me as Giannetta: it's too slight and thankless a role for me to feel able to say any more than that.

As for the opera itself, well, what's to be said? It's hardly an opera to be getting deeply passionate and excited about. I know I wasn't exactly filled with breathless anticipation at the prospect of hearing it. But it was a beautiful sunny day, I had the stereo speakers outside and copious lemonade, and it was a charming way to spend an afternoon. Light and breezy, maybe not always hugely interesting, but pretty all the same, and it does have its moments. I wouldn't want to be over-exposed to it - but once in a while is really rather nice.