Gaetano Donizetti’s L’elisir d’amore remains one of opera’s most enduring comic masterpieces. The opera follows Nemorino, an earnest but insecure villager who turns to a supposed magic potion in hopes of winning the heart of the intelligent and independent Adina. Beneath the opera’s humour lies a study of unrequited love, personal growth, and the search for self-worth, transforming a light-hearted comedy into an exploration of love and human resilience.
Cesare Lievi’s production reimagines L’elisir d’amore as a fantasy inspired by Adina’s favourite book, Tristan und Isolde. The book becomes both a visual motif and a symbolic lens through which the story unfolds, creating a dreamlike world untethered from any specific time or place. The books Tristan und Isolde appear throughout the staging, serving as both props and metaphors, while the colourful costumes and whimsical scenery create an atmosphere of heightened theatricality. The parallel is central to Lievi’s concept: just as Tristan wins Isolde’s love through a magical potion, Nemorino sees himself reflected in the legend, believing that a love elixir will secure Adina’s affection. By drawing this connection, the production highlights the enduring allure of romantic fantasy and the power of belief.
One of the production’s greatest strengths was the strong chemistry among the four principal singers, whose interactions felt natural throughout the performance. Their rapport was particularly evident in the scenes shared by Adina and Dulcamara, whose lively exchanges at the wedding festivities sparkled with wit and energy. Equally effective was the duet between Belcore and Nemorino, in which the sergeant persuades the lovesick villager to enlist in exchange for twenty scudi, as well as the touching encounter in which Adina reveals that she has repurchased Nemorino’s military contract.
The ensemble work reached a high point in the trio “Tran, tran, tran – in guerra ed in amor” (“In War and in Love”), where Belcore confidently presses his suit to Adina while Nemorino’s insecurity is laid bare. The singers maintained an impressive dramatic and musical balance, allowing the contrasting personalities of the characters to emerge clearly without disrupting the flow of the scene.
In the pit, the Tokyo Philharmonic Orchestra, conducted by Marco Guidarini, matched the cast’s sense of ensemble. Guidarini ensured that the orchestra supported rather than overwhelmed the singers, resulting in a strong sense of harmony between stage and pit.
Among the cast, Francesca Pia Vitale’s Adina proved the standout performance of the evening. Her agile and powerful voice worked perfectly with her lively and energetic characterisation. Her vocal performance was highly expressive, delivered with perfect coloratura.
As Nemorino, Matteo Desole gave a compelling portrayal of the awkward yet genuinely lovable villager. His characterisation balanced comic ineptitude with heartfelt sincerity, making his emotional journey particularly affecting. The evening’s musical highlight came with “Una furtiva lagrima” (“A Furtive Tear”), sung with a rich, resonant tone and simplicity. Desole conveyed Nemorino’s growing confidence as he begins to believe that Adina may finally return his affection, transforming the aria into a moment of genuine emotional revelation.
Marco Filippo Romano was equally memorable as the quack doctor Dulcamara. His charismatic stage presence and impeccable comic timing captured the character’s blend of charm, opportunism, and theatrical flair. Romano’s portrayal made it easy to understand why the villagers—and Nemorino in particular—would be taken in by his claims. The production’s imaginative staging culminated in Dulcamara’s departure aboard a whimsical airship, reached via a rope ladder, a striking image that reinforced the character’s mystique and enigmatic appeal.
The production’s sense of fun extended beyond the opera itself. At the beginning of Act II, two women dressed in red wandered through the auditorium selling ‘potions’ to audience members before approaching the conductor Marco Guidarini. Guidarini playfully purchased two bottles and theatrically drank them before entering the second Act. The moment blurred the boundary between stage and audience, immersing spectators further into the opera’s whimsical world.
This L’elisir d’amore offered exactly what Donizetti’s opera does best: sparkling comedy, memorable melodies, and genuine emotional warmth. Richly entertaining and imaginatively staged, it provided an evening of escapism that left the audience refreshed and delighted—a production well worth seeking out.
Title: L’elisir d’amore ＊＊＊＊
Venue: The New National Theatre Tokyo
Composer: Gaetano Donizetti (1797-1848)
Libretto: Felice Romani after Scribe and Malaperta
Director: Cesare Lievi
Conductor: Marco Guidarini
Set designer: Luigi Perego
Costume designer: Marina Luxardo
Lighting designer: Yuji Tatsuta
Cast includes Francesca Pia Vitale, Matteo Desole, Simone Alberghini and Marco Filippo Romano
Until 27th May 2026
Photograph: ©Koji Iida/New National Theatre, Tokyo
Running Time: 2 hours 30 mins. (1 interval)
Review by Miho Uchida