_{Toronto City Opera
L’elisir d’amore} “The magical world of Gaetano Donizetti”

On November 13th, my husband and I headed into Toronto to see Toronto City Opera’s L’elisir d’amore at the Al Green Theatre on Spadina Avenue. After a stressful drive, which included multiple lane closures, we rushed into the theatre to grab our seats. Would this opera be worth the hassle of braving the QEW? The answer was a definitive yes. For the next two and a half hours, we were transported into the magical world of Gaetano Donizetti, one of the kings of bel canto opera.

L’elisir d’amore is a comedy about a fake love potion sold by a quack and, despite the frivolity of the plot, Donizetti’s complex writing requires some serious singing. All of the singers in Toronto City Opera’s cast were up to the task.

Jeremy Scinocca played the hapless peasant, Nemorino, who is so desperate to be acknowledged by his love that he buys the “potion,” which is really only wine. This was Scinocca’s debut as Nemorino, and I believe, as his voice matures, that it is a harbinger of more to come. Scinocca’s lyric tenor voice had a good foundation in the middle register, but also had the intensity needed for high notes. Nowhere was this more evident than in his “Una furtiva lagrima.” This aria is so familiar that it can slip into being a redundant “best of” piece. Not so with Scinocca’s interpretation which contained lovely pianissimos and fortissimos and an ebb and flow of tempo. It was a showstopper, and the rapt silence of the audience was a tribute to Scinocca’s sensitive interpretation.

Nicole Leung, who played Nemorina’s love interest, Adina, had a delightful stage presence and a lovely voice to match. Her vocal warmth shone through in her more tender solos, while she was able to pull out a glittering brilliance with her soaring top notes. Johnathon Kirby was an unctuous and vocally strong Belcore. His preening presence was truly hilarious, and his comical expressions were supported by his rich baritone tonality. Even though you knew he was a schmuck, you couldn’t help but love him, and his charismatic stage presence was riveting.

Dylan Wright played the charlatan, Dr. Dulcamara. This is the first time I have seen Wright in a comic role, and I have to say it was a part he was born to play. The sheer power of his bass voice was impressive, his excellent diction and rich imposingly deep and full tones making him a focal point whenever he was on stage. He had great comic timing, and his physical agility added to his outstanding interpretation of this role. Katelyn Bird was a charming Giannetta, and her voice was particularly pleasing in her work with the female chorus.

Photo Credit: Dahlia Katz

The female chorus at Toronto City Opera impressed by the charms of Belcore, played by Johnathon Kirby 

All this skilled singing would not have been possible without the sensitive and precise conducting of Jennifer Tung, and the rich accompaniment of Ivan Estey Jovanovic. This dynamic duo breathed life into Donizetti’s score, carefully embracing and supporting solos while also providing the strong leadership needed for the larger ensemble numbers. Jovanovic’s creative use of piano and electronic keyboard added to the layers of musicality.

The 34-member chorus should be commended for their harmonies and precise diction. When dealing with an amateur chorus, there is potential for a few misses in entrances, but the sheer exuberance of the chorus singing and their commitment to acting made up for any inconsistencies. The costumes were coordinated and designed by Amanda Eason, who made the feel of a 1950s rural Italian village a reality. The stage was small, but set and lighting designer Echo Zhou and her props and set assistant Nathan Gregory transformed the space into a believable rural scene.

The final word should go to director Jessica Derventzis. This is not the first time I have been impressed by her dynamic work, and her productions are a feast for the eyes. In any given scene, all the players were involved in creating the overall ambience, whether they were chorus members, supernumeraries, or leads. There were no static players, and her staging morphs from one scene to another, avoiding linear configurations while creating interesting groupings of artists. At no point did it feel chaotic, but rather it was as if we the audience were dropped into the busyness of a village. And then there were the details. Rather than having Dulcamara stride on stage, he rides in on a bicycle. An apple tree and real apples add to comic scenes. A group of four soldiers accompany Belcore in everything he does, always in character and always adding comic touches. Little things like these lifted a production above the ordinary and into the extraordinary.

In a world where bigger is often equated with better, Toronto City Opera proved that opera by a small company in a 250-seat theatre can be equally as pleasing as watching a national company’s extravaganza. It’s all about the combination of talented musicians, singers, directors and producers – things that Toronto City Opera has in abundance.

Photo Credit: Dahlia Katz

Dr. Dulcamara (Dylan Wright) hocking his wares to an unsuspecting crowd

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