Charles Calotta as Nemorino and Junhan Choi as Belcore in UAO’s L’elsir d’amore. Photo Dan Dovan.
For the second show of its summer season, Union Avenue Opera serves up the curious cocktail one —part sweeping romance, two parts rake-stepping buffoonery — called L’elisir d’amore (The Elixir of Love). First performed in 1832, Gaetano Donizetti’s classic Italian comic opera is a masterclass in rustic romantic comedy—a tale bursting with misunderstandings, dramatic irony, surprise twists, and strokes of fortune straight out of Shakespearean comedy.
The story centers on Nemorino (Charles Calotta), a lovable (if misguided) village fool obsessed with the brilliant, wealthy Adina (Kyaunnee Richardson). His entire character arc centers on this devotion. Undeterred by Adina’s frostiness and his own deep-seated insecurity, Nemorino embarks on a quixotic quest to win her affection.
Drawing inspiration from the legend of Tristan and Isolde—a story Adina shares with the townspeople—Nemorino searches for a magical love potion to melt the icy heart of his beloved. Enter Dr. Dulcamara (John Robert Green), a conman with a traveling medicine show. He has just the thing for poor Nemorino. With a little sleight of hand, the doctor fills a bottle with cheap red wine, holds it aloft, and boasts of its miraculous properties. Nemorino enthusiastically drains his meager savings for the “elixir” and takes a hearty swig. The resulting liquid courage and swagger quickly catches the attention of the other women in the village.
Adina, however, is not so easily thawed. Annoyed by Nemorino’s lovesick puppy routine, she spites him by flirting with Sergeant Belcore (Junhan Choi), a visiting army officer who literally marches into town with a theatrical flourish of his feathered tricorn hat. When Belcore is unexpectedly ordered back to the front lines, he proposes a hasty marriage, raising the stakes and driving Nemorino to desperation. As the second act unfolds, the characters navigate a turbulent sea of emotions with reversed roles: Nemorino is overwhelmed by female attention, and Adina finds herself strangely jealous.
As is tradition with Union Avenue Opera, the production design is excellent, making the show highly accessible regardless of your prior experience with the medium. The set is a gorgeous recreation of a country villa—so evocative you can almost smell the grapes being mashed by foot. The costuming is equally impressive and evocative. The village women look beautiful in their starched veils, while the men appear dashing in their rustic shirts, vests, and crisp military uniforms.
The entire opera is performed in Italian, and it is remarkable how fluently and beautifully this cast navigates the language. Thanks to effectively placed English supertitles, anyone with a good view of either side of the stage can follow the comic mischief without missing a beat. The cast operates in perfect harmony, delivering delightful, finely tuned performances. Kyaunnee Richardson’s Adina is a clear standout. Looking gorgeous in exquisitely curled hair and a pink-and-white summer dress, she backs up a stunning vocal performance with some vaudeville-style nonverbals. Her eye rolls, hair tosses, and fourth-wall-breaking glares of annoyance and disgust earn the biggest laughs. She and Nemorino don’t seem remotely compatible as a couple, but as a comic duo, they’re perfectly in sync. Charles Calotta plays the lovable loser with an endearing, self-effacing charm. His boyish looks and clear voice make him a highly sympathetic—if sometimes frustrating—protagonist.
Junhan Choi, meanwhile, is a perfect fit for the arrogant sergeant. He carries himself with a grace and confidence that is simultaneously attractive and grating, exactly as the character demands. And John Robert Green seems to have the time of his life as Dr. Dulcamara, the opera’s chief chaos agent. He dances, pantomimes, slaps his knees and cackles with glee as the townspeople happily dance to his mad tune.
In the pit, conductor Cara Chowning leads the orchestra in providing a stately, symphonic backdrop to these romantic misadventures. Despite the story’s mock-epic, comedic tone, Donizetti’s score is beautifully composed. The lush strings and woodwinds add splendor to the stirring arias. It’s a reminder that the deep passion and yearning on stage should be taken seriously, no matter how deluded the singers might be.
L’elisir d’amore will take the stage again on Friday, July 31, and Saturday, August 1. [Editor’s note: Apologies for not getting this posted during the show’s run! The Arts STL was undergoing a site migration and we were unable to upload any new articles for a little while there. –JG] The air conditioning inside the Union Avenue church worked overtime last weekend, but after months of suffering under a horribly humid Midwestern heat dome, the chilliness is quite welcome. Tickets start at $25; guests are encouraged to arrive early (parking is limited) or stay late to check out the on-site gallery. It currently features fascinating ceramic work by a local artist. All in all, it should make for a delectable evening of timeless entertainment with a contemporary touch—elevated, but never too serious. | Rob Von Nordheim
The Union Avenue Opera season continues with Samson et Dalila, with performances on August 14, 15, 21, and 22. For more information or to purchase tickets, visit unionavenueopera.org.
