Product Details

• Actors: Valeria Esposito, Aquiles Machado, Enrico Marrucci, Erwin Schrott, Roberta Canzian
• Directors: Andrea Bevilacqua
• Writers: Eugène Scribe, Felice Romani
• Format: Classical, DVD, NTSC
• Language: Italian
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Number of discs: 1
• Rated: NR (Not Rated)
• Studio: Tdk DVD Video
• DVD Release Date: September 23, 2003
• Run Time: 136 minutes
• Average Customer Review: 4.3 out of 5 stars  See all reviews (7 customer reviews)
• ASIN: B0000C7PRD
• Amazon Best Sellers Rank: #98,618 in Movies & TV (See Top 100 in Movies & TV)
• For more information about "Donizetti - L'Elisir d'Amore / Esposito, Machado, Marrucci, Canzian, Schrott, Muus, Macerata Opera" visit the Internet Movie Database (IMDb)

Editorial Reviews

Slowly the camera roams through the narrow streets of Macerata, past the cathedral, the monuments, the library and the university, until it reaches the Arena Sferisterio. In the 1820s this was a competition venue for handball. At the beginning of the twentieth century the ‘neo-classical monster’, as the stadium is disrespectfully called, was also discovered as an opera venue and a dazzling backdrop for the Macerata Opera Festival. In July 2002, An audience of 5000 had gathered to listen to the new production of Elixir of love under the direction Saverio Marconi, conducted by Niels Muus. Using a trick the director succeeded in preserving the open-air atmosphere while at the same time eliminating the echo of the voices and instruments. Donizetti’s operas had for a long time been dismissed as frivolities, as repertoire works, "which can be staged anywhere", as W.H.L Riehl sarcastically remarked in his ‘Musikalische Charakterbilder’ (Musical Character Studies), "whether in Paris or Butzbach, with a good or a bad cast, complete or in part, rehearsed as a showpiece or as a stopgap, not too long and not too short, not too difficult and not too easy,comprehensible to all and stimulating the senses of many". This prejudice is perhaps due to the fact that composing came easily to Donizetti; he even boasted that he could compose a symphony within one and a quarter hour. The comedy The Elixir of Love is said to have taken him all of a fortnight to write. The premiere in the Teatro della Canobbiana in Milan in 1832, was an unqualified success; it resulted in a series of 32 sold-out houses for the composer and even inspired Richard Wagner in 1840 to produce a piano score of the work. Donizetti based his work on a French fable by Eugene Scribe, which Felice Romani turned into a multifaceted libretto of two acts.

Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

5.0 out of 5 stars An L'Elisir as sparkling and bubbly as a glass of champagne, January 22, 2007

By 

Toni Bernhard (Davis, CA United States) - See all my reviews

Amazon Verified Purchase

This review is from: Donizetti - L'Elisir d'Amore / Esposito, Machado, Marrucci, Canzian, Schrott, Muus, Macerata Opera (DVD)

There is no shortage on DVD of famous opera performers pairing up to play Adina and Nemorino in L'Elisir d'Amore: Kathleen Battle and Luciano Pavarotti; the Alagnas (Angela Gheorghiu and Roberto); Anna Netrebko and her favorite onstage partner, Rolando Villazon. All of these productions have much to commend them, but my favorite is this one from the Arena Sferisterio in Macerata with not a single famous performer in it!

The production is brilliantly staged in a huge (5,000 seat) arena that is made intimate by putting the players and the orchestra onstage together in three-sided box that serves as a stage-within-a-stage. This also allows the performers to interact with the conductor and the orchestra, a comic device used (but not overused) to great effect throughout.

Soprano Valeria Esposito has the brightest and sweetest upper register I've ever heard. She creates a flesh and blood, strong-minded Adina. Donizetti left his soprano room to show off her coloratura skills and Esposito relishes the opportunity. In her final duet with Nemorino, she just takes off, singing "a capella" at times. She throws in several false endings, only to start singing again when Nemorino (thinking she's finished) moves in for a kiss. It's beautiful to listen to, funny to watch, and brings the house down.

As Nemorino, the Venezuelan tenor, Aquiles Machado, sings with a big sound and a big heart. His phrasing and legato in "Una furtiva lagrima" are executed beautifully, and his interpretation of this famous aria is heartbreaking. Lyrical baritone Enrico Marrucci is wonderfully pompous and conceited as Belcore. Erwin Schrott has a big and rich bass voice that contrasts perfectly with the other players. He creates a different Dr. Dulcamara than we're used to - a rather harmless hustler, more like a TV hype guy who trades on our dreams of perfect looks and perfect health. Roberta Canzian, as Giannetta, is wonderful too; perhaps an Adina-in-the-making.

It's an utterly charming and joyful production all around.

15 of 15 people found the following review helpful:

5.0 out of 5 stars Unsurpassed & unsurpassable, September 4, 2006

By 

Peep "opera mad" (Adelaide, AUSTRALIA) - See all my reviews

This review is from: Donizetti - L'Elisir d'Amore / Esposito, Machado, Marrucci, Canzian, Schrott, Muus, Macerata Opera (DVD)

I am in almost wholehearted agreement with the 2 reviewers who praise this DVD, and in wholehearted DISagreement with Scott Morrison. I've been an avid opera lover for years and think I know my stuff, so have no qualms in saying that this is the only DVD I have of L'elisir d'amore, and probably the only one I ever shall acquire. I've seen a number of video performances - Pavarotti & Blegen, Pav and Battle, Angela & Roberto, Bonney & I forget the tenor - was it Winbergh? - but this one trumps them all - mainly for the singing.
Yes, the tenor is dumpy, but boy, does he have fun! He acts with his face and body, adds a higher note than we are used to hearing at the end of his first aria, a solid high C at the end of his duet with Belcore, and has great interplay with Adina.
Belcore seems very, VERY young, but apart from some slurred coloratura (he aspirates a lot of it) does a commendable job.
It's certainly a change to see a young and sexy-looking Dulcamara in this role, but Erwin Shrott is just great. His voice is rich and resonant, and I feel that those parts where the other reviewer thought he looked disinterested were just his way of acting out that particular scene. Whenever he was on stage I found my attention riveted to him.
Which brings me to the Adina. I simply cannot understand how anyone could call her performance 'dismal'. Here is a gorgeous soprano voice that just gains in strength and lustre as it ascends; moreover her coloratura technique is nothing short of staggering. I don't think she missed a note, a triplet, a flourish or a trill all night. I looked up her name - Valeria Esposito - on the net and found out that she is highly credentialled - something that didn't surprise me in the least. I've since located her in La Fille du Regiment where she is just as brilliant.
Yes, she may look older than the other principals - but the fault is that they're too young, not that she's too old! Yet she has such a gorgeously expressive face, flashing eyes and engagingly crooked teeth (!) that I couldn't have cared less if she were 20 years older. Plus she's tiny, and has a youthfully trim figure.
More music than we are used to hearing is retained in this version (another bonus!), so that we hear more of the Adina/Nemorino duet in act 1 than usual, and a number of other repeats that are generally cut. But the most staggering addition comes in Adina's cabaletta in act 2 - Il mio rigor dimentico. Listen to EVERY other soprano sing it on all other recordings (except Devia on the CD set, and she doesn't add any ornamentation), and you'll barely recognise Esposito's version. She completes one verse of it, twirls round on the spot with Nemorino, hurls out a cadenza rising to high E-flat, then goes on to sing a second, embroidered verse rising to D and a number of C's. As in The Pirates of Penzance, where Mabel's final prolonged cadenza prevents Frederic from kissing her, here Nemorino acts for all he's worth waiting for his soprano to finish - rolling his eyes, throwing up his hands, and even going and sitting down in despair. It's a sign of how brilliant Esposito is that he doesn't upstage her, and at the end she receives a roaring ovation. It really is a brilliant voice in its upper extension - in the previous aria - Prendi! -she alters most of Donizetti's cadenzas so that she can show off her notes above the high C - and I wasn't surprised when I found a download on the net where I heard her singing a live Ah non giunge! from La Sonnambula and ending with a sustained F in alt. More of this soprano, please!
The whole performance can be summed up as a joyous, bubbling experience. I've watched it a number of times, and honestly couldn't tell you what there is and is not in the way of sets and props. The singers are so skilled in their art that I'd enjoy it as a concert performance.
Bravo! Bravissiomo! This is the version to own!

12 of 13 people found the following review helpful:

5.0 out of 5 stars Magnificent interpretation of Donizetti, December 29, 2003

By 

Mrs. Sunar Tjahjono (Jakarta, Indonesia) - See all my reviews

This review is from: Donizetti - L'Elisir d'Amore / Esposito, Machado, Marrucci, Canzian, Schrott, Muus, Macerata Opera (DVD)

I have seen other versions of L'elisir d'amore performances in DVD and find this particular version the most beautiful, perfect and magnificent performance of Donizetti.
The singers, soprano Esposito as the proud and indifferent but beautiful Adina, with her clear and sweet soprano voice is so enchanting and excellent, that we want to hear more of her. In this performance she is matched by tenor Machado, whose appearance is just the exact Nemorino and with his rich tenor voice make us enjoying more of the performance. There is also a most distinctive beautiful deep nuance baritone voice of Schrott performing perfectly as Doctor Dulcamara, all the combination of voices together adds to the perfection of the opera itself. This performance made Donizetti's beautiful vivacious and melodious music much more significant and enjoyable while the background and costumes represents the natural environment of a village.
I really enjoy this version compared to other versions of performances, eventhough all the performers are less wellknown.