Let me start with something bold: this production of L’Elisir d’Amore is without a doubt in my Top 10 operas of the entire year. And honestly, if I had to choose one opera to introduce a newcomer to the art form, I would pick L’Elisir d’Amore — but especially this production. It is everything opera should be for a first-timer: fun, colourful, hilarious, romantic, and constantly alive.
And the staging… genuinely perfect for beginners and seasoned opera lovers alike. Something is always happening on stage. When Belcore makes his entrance coming from the actual auditorium doors, marching in with his battalion through the orchestra seats, the entire house bursts into laughter. Later, Ambrogio Maestri sings the final number in the audience, turning the last minutes into a giant celebration where everyone claps, laughs, and joins the fun.
I left the theatre smiling like a kid — and I kept smiling for 10 hours afterwards. Even writing this review now brings it back.
I would rewatch this exact show tomorrow, next week, next month — even with a totally different cast — because the production is just that good.
Pretty Yende delivered a warm, confident, and sparkling Adina. She knows the role well, and she plays the coquette with charm and humour. The final scenes were especially beautiful — vocally strong, theatrically convincing, and emotionally touching. The audience followed her every move.
What can I say? Javier Camarena is Nemorino. He knows the role like the back of his hand, and he offered what was probably the most beautiful “Una furtiva lagrima” I have ever heard live. The applause went on and on — minutes of ovation, and it felt completely deserved. His comic timing, his physical acting, his sweetness on stage… at moments I genuinely felt like I was watching an operatic Charlie Chaplin.
A role debut — and a triumph. Huw Montague Rendall is not only one of the most promising baritones of today, but also one of the funniest. I loved him in Roméo et Juliette in Paris, but here he was next level: moustache, swagger, comedy, timing… he looked like he had been singing Belcore for 20 years. Absolutely hilarious and absolutely brilliant.
Let’s just say it: Ambrogio Maestri wins the Oscar for Best Entertainer.
He is funny, touching, charismatic, and magnetic from the moment he steps on stage. His interaction with the audience, especially at the end, was pure joy. A masterclass in character acting.
Nuria Vila sing s small role, but nicely sung and well delivered.
Mario Gas’s staging (revived by Leo Castaldi) is simply perfect for this opera — lively, witty, charming, full of energy and visual humour. The pacing is impeccable: no dead moments, no slow scenes, just pure theatrical delight from beginning to end.
I must also thank the Liceu for their always impeccable hospitality. It is genuinely one of the most welcoming opera houses in Europe. The staff were wonderful, the organisation flawless, and I was kindly allowed backstage to film an interview with Pretty Yende two hours before the show.
The Liceu manages to keep its prices accessible while maintaining an international-level standard — something rare and precious.
Opera doesn’t need to be complicated to be magical.
Sometimes, it just needs Donizetti… and the Liceu.
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CAST
Nemorino : Javier CAMARENA
Adina : Pretty YENDE
Belcore : Huw MONTAGUE RENDALL
Dulcamara : Ambrogio MAESTRI
Gianetta : Nuria Vila
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Stage Direction : Mario Gas
Revival Director : Leo Castaldi
