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THE ROYAL OPERA

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Co-production with Opéra national de Paris

The Royal Opera House Principals Julia and Hans Rausing

Season Principal Aline Foriel-Destezet

Generous philanthropic support from Professor Paul Cartledge and Judith Portrait OBE

L'elisir d'amore 

MELODRAMMA GIOCOSO IN TWO ACTS

28.09.2023 19:30

The 136th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

This performance will last for approximately 2 hours and 45 minutes, including one interval.
Act I
75 minutes
Interval
30 minutes
Act II
60 minutes

GUIDANCE

Content suitable for all, subject to House rules

Children under the age of five are not permitted into our auditoria. Children over age five must have their own ticket and sit next to an accompanying adult.

CREDITS

Music
Gaetano Donizetti
Libretto
Felice Romani after Eugène Scribe
Director and Costume Designer
Laurent Pelly
Revival Director
Paul Higgins
Set Designer
Chantal Thomas
Lighting Designer
Joël Adam

CAST

Conductor
Sesto Quatrini
Giannetta
Sarah Dufresne
Adina
Nadine Sierra
Nemorino
Liparit Avetisyan
Belcore
Boris Pinkhasovich
Doctor Dulcamara
Bryn Terfel
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding

Sarah Dufresne is a Jette Parker Artist

Farm workers and villagers, Doctor Dulcamara’s assistants

Actors Lucy Brenchley, Barry Callan, Fausto Danese, Frankie Duncan, Chris Edgerley, Sasha Kane, Durassie Kiangangu, Anthony Kurt-Gabel, Davy Quistin, Clara Rozzi, Douglas Santillo, Charlie Venables

SYNOPSIS

A village at harvest time

ACT I

Nemorino, a naive village boy, is doing what he has been doing since his childhood: admiring Adina, a beautiful farm owner – but from a safe distance. Nemorino’s devotion never fails to provoke annoyance and hostility in the capricious lady. He is watching her as she sits reading the legend of Tristan and Isolde, and the idea of a potion fuelling undying love arouses such irrepressible hilarity in her that she reads the story to her farm workers.

When Sergeant Belcore arrives in the village on a recruitment drive, he immediately sets about courting Adina. Nemorino, hurt by her apparent interest in the soldier, declares his love yet again. But she is discouraging. In her fickleness she wants a new lover every day, and she recommends the same course of action to him.

Dulcamara, a quack doctor, arrives in town selling an all-purpose tonic. It occurs to Nemorino that the pedlar must stock some of Isolde’s love potion. Dulcamara sells Nemorino a half-consumed bottle of Bordeaux and tells the boy that he will feel the effects of the elixir within 24 hours – by which time the doctor will be long gone.

Nemorino begins to sip the potion. When Adina turns up, he feigns indifference, certain as he is that she will be wracked with love for him within a matter of hours. She is infuriated by his aloofness, and in a fit of pique promises to marry Belcore in six days’ time. Nemorino remains unperturbed; after all, the potion only takes 24 hours to take effect. An unexpected dispatch, however, requires Belcore to decamp the following day. Adina impetuously promises to marry him that evening. Nemorino begs Adina to delay the wedding. Adina, irritated by his manner, invites the entire village to the celebrations. Nemorino collapses on the ground in despair.

INTERVAL

ACT II

The wedding party is in full swing. Dulcamara gets Adina to sing a duet with him about a rich old senator who tries to court a pretty gondolier girl. To Adina’s annoyance, Nemorino is nowhere to be seen at the festivities. Everyone follows the wedding couple out to witness the signing of the contract: only Dulcamara decides to stay behind to sample the buffet.

When Nemorino does turn up, very depressed, Dulcamara prescribes another dose of the elixir. The boy, however, has no more money. He decides to join Belcore’s squadron and runs to buy another bottle with the commission.

The village girls catch wind that Nemorino’s rich uncle has just died, leaving him a fortune. They begin to squabble over the boy’s affections. Nemorino, by now very drunk, believes that he is witnessing the magical effect of the elixir. Adina – who has managed to put off signing the wedding contract with Belcore – discovers herself rattled by Nemorino’s new-found popularity with the opposite sex. When she learns he has enlisted in order to win her, she realizes that she has loved Nemorino all along. Dulcamara cannily tries to sell her a bottle of elixir with which to win him back, but Adina professes full confidence in her own powers of attraction.

Nemorino has observed Adina’s distress on seeing him with the village girls, and now knows that she loves him. Adina returns with his recruitment form, which she has bought back from Belcore, and she finally confesses her feelings for Nemorino. Belcore begins looking for another girlfriend and the villagers fall over themselves to buy Dulcamara’s magical elixir, which the pedlar now claims makes a person not only irresistible, but rich too.

PRODUCTION CREDITS

Music preparation
Susanna Stranders, Ben-San Lau
Assistant Director
Emma Doherty
Language Coach
Valeria Racco
Associate Costume Designer
Donate Marchand

THE ROYAL OPERA

Patron

HM The King

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

roh.org.uk/donate