The Elixir of Love: Washington National Opera Working Rehearsal

Performance Guide

Working Rehearsal

Cuesheet

washington national opera Gaetano Donizetti’s

The Elixir of Love Libretto by Felice Romani Directed by Stephen Lawless Conducted by Ward Stare

You can’t make someone love you. Or can you? Nemorino, the hero of Donizetti’s famous comic opera believes he might be able to pull off the impossible. When he simply can’t get the girl of his dreams to pay him any attention, he tries a little magic in the form of a love potion. At least he thinks it’s a love potion. Cue romantic mayhem.

David and Alice Rubenstein are the Presenting Underwriters of WNO.

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About Donizetti’s

The Elixir of Love

The Elixir of Love or L’elisir d’amore (pronounced lehl-ee-ZEER dah-MOH-re) actually started out as a completely different piece of music by a completely different composer. Almost a year before its debut in 1832, a French opera with the exact same story premiered in Paris.

Still, when composer Gaetano Donizetti was asked to create an opera buffa or “comic opera,” (OH-pehr-ah BOO-fah) for Milan audiences, he decided the silly yet romantic story was worth repeating.

Donizetti and librettist Felice Romani set about re-imagining the familiar tale in a more bittersweet and touching light… and the rest is opera history.

Dulcamara presents Nemorino with the infamous elixir of love.

ACT I Time: 1830s Setting: The Italian countryside As the wealthy and beautiful Adina (ah-DEE-nah) sits reading among friends, a young peasant named Nemorino (neh-mohr-EE-noh) watches her, sighing helplessly. He’s madly in love, but she doesn’t seem to care. Adina dazzles the

crowd by reciting a story from her book: the tale of Tristan and Isolde, a couple brought together by a magical love potion. Nemorino is intrigued.

Suddenly, a dashing sergeant named Belcore (behl-KOHR-eh) marches onto the scene. Belcore brazenly proposes marriage to Adina and, though she brushes off his advances, she doesn’t quite reject him. Heartbroken, Nemorino pleads his case to Adina, who remains cheerfully indifferent.

Meanwhile, a trumpet fanfare announces a salesman known as Dr. Dulcamara (dool-kah-MAH-rah), a con artist who claims his medicinal tonic can cure just about anything. Nemorino nervously approaches, asking if Dulcamara has ever heard of the mysterious elixir of love from the “Tristan and Isolde” tale.

Dulcamara claims he’s the one who distills the miracle potion and tricks Nemorino into spending his last penny on ordinary red wine.

Believing the potion will make Adina fall for him after 24 hours, Nemorino ignores his love when he meets her in the square. Annoyed by his change in behavior, Adina taunts Nemorino by agreeing to marry Belcore. At first, Nemorino laughs at this. However, when a message arrives ordering Belcore’s regiment out of town, the wedding is planned for that very day (that is, before the elixir will take effect). Nemorino panics. He begs Adina to hold the marriage off, but Adina defiantly refuses.

ACT II

About Gaetano Donizetti

As evening approaches, the guests celebrate at the wedding banquet without Nemorino. Yet once the marriage contract is prepared, Adina delays in signing, mumbling that she wants Nemorino present to witness her revenge for his rude rejection of her earlier.

Born in Bergamo, Italy to a poor family, Gaetano Donizetti (1797–1848) showed such early musical promise that he enrolled in music school at the age of nine. Donizetti went on to write more than 100 operas in both Italian and French, and his beautiful yet technically demanding melodies are a prime example of the famous operatic bel canto (bell KAHN-toh) or “beautiful singing” style. Today, his operas L’elisir d’amore, Lucia di Lammermoor, and Don Pasquale are among the most frequently performed.

The guests wander off, leaving Dulcamara alone with the banquet leftovers.

Nemorino stumbles in, desperate, and explains he needs even more help in securing Adina’s love. Dulcamara suggests more of his magical potion, but Nemorino exclaims he hasn’t any money left.

Nemorino’s luck changes when Belcore re-enters and, not knowing the true circumstances of Nemorino’s predicament, suggests the peasant join the army to earn some quick cash. Frightened, but determined, Nemorino agrees.

Elsewhere, word has spread among the village ladies that Nemorino’s elderly uncle has died and the country boy is now a millionaire. Drunk on Dulcamara’s cheap wine, Nemorino re-appears and finds himself the center of attention as the ladies—led by feisty peasant girl Gianetta (jyah-NEH-tah)—fight over him. Has the elixir finally taken hold? Will Nemorino’s newfound popularity be enough to win Adina’s heart and save him from the army? Only Cupid knows for sure.

Main Characters Nemorino, a young peasant Adina, a rich landowner Belcore, a sergeant stationed near Adina’s estate Dr. Dulcamara, a travelling salesman Gianetta, a peasant girl

About Washington National Opera Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. WNO presents several operas each year at the Kennedy Center and its artists regularly perform throughout the city. WNO is also active in commissioning new operas. Among the most popular of WNO’s community programs is Opera in the Outfield, which brings free broadcasts of opera to Nationals Park.

To learn more about opera visit www.kennedy-center.org/artsedge and click the tag “opera”

ALL PRODUCTION PHOTOS BY CAROL PRATT

THINGS TO THINK ABOUT… n

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“Nemorino” literally means “little nobody.” Why do you think the creators settled on this name for their hero? Does Nemorino live up to his name or has his name been chosen ironically?

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Michael M. Kaiser President

Donizetti’s works are referred to as bel canto operas, which are designed to show off the human voice. How is the singing in The Elixir of Love different from other types of singing you’ve heard before?

Darrell M. Ayers Vice President, Education

Nemorino’s aria “Una furtiva lagrima” (“One furtive tear”) is one of the most famous songs in opera. Why do you think this is so? What makes this aria stand out from the rest of the opera?

Francesca Zambello Artistic Director

Dr. Dulcamara’s character is known to opera lovers as a basso buffo or “funny bass” (BAHsoh BOO-foh) role. Do you think of him as funny? Do you think Donizetti’s music helps to make him seem extra humorous?

WHAT TO WATCH AND LISTEN FOR… n

David M. Rubenstein Chairman

The vocal melodies that move quickly up and down the scale—especially those sung by Adina.

This kind of rapid-fire vocal movement is known as coloratura (kuhl-er-ah-TOOR-ah) singing.

Props that are used to help the music and the story along. (Hint: Nemorino’s bottles of “elixir.”)

How does his behavior change when he has a bottle in his hand? How does his singing change?

Short phrases sung back and forth with very little accompaniment. This speech-like singing is known as recitative.

The orchestra. Note the way the instruments support the singers and help reflect what the lyrics are saying.

The chorus and their reaction to what’s going on with the main characters. Does the chorus’s response to the events onstage help you better understand the plot?

Michael L. Mael Executive Director

Student Dress Rehearsals are made possible in part by the generous support of the U.S. Department of Education.

Additional support for Performances for Young Audiences is provided by Adobe Foundation, The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy’s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2014 The John F. Kennedy Center for the Performing Arts