A most amusing opera buffa/ Ochanine, Gulyak in concert: A not-to-be-missed event!

To my knowledge, Donizetti’s opera buffa (comic opera) ‘L’Elisir d’ Amore’ (Elixir of Love) was being presented here for the first time. Viewers at Alabang’s Insular Life auditorium saw a thoroughly simplified version.

Costumes were ordinary, every day wear. The stage set consisted of some chairs, a bench, and a spot of greenery to suggest a farmstead. Piano rather than orchestral accompaniment reduced production costs considerably.

The opera’s principal characters are Adina a wealthy farm-owner (soprano Elainne Marie Vibal), Nemorino, a young peasant desperately in love with Adina (tenor Randy Gilongo), Belcore, a sergeant of the village garrison who is courting Adina (bass-baritone Roman Gabriel Tenefrancia), Dulcamara, a quack doctor selling questionable elixir to the villagers, (bass-baritone Nomer Son).

Adina gives no encouragement to Nemorino, encouraging Belcore instead. Dulcamara, riding in a carriage in the original opera production, enters on foot with his false drinks which he claims are elixirs of love. Nemorino falls into the trap, buying a bottle of the wine which he believes will make Adina fall in love with him.

Adina and Belcore agree to marry while Nemorino is anxiously waiting for the potion to work. Unexpectedly, Adina postpones the wedding; meanwhile, Nemorino’s wealthy uncle dies, leaving his nephew a vast fortune. This leads a bevy of farm girls seducing the surprised and overwhelmed Nemorino, with two bosomy ones gestures which are not quite in good taste.

Meanwhile, Dulcamara unknowingly causes Adina to realize that Nemorino is her true love. It is a happy ending for the once wretched Nemorino and the misguided Adina. Belcore, pragmatically unaffected, consoles himself by saying, “There are other women, anyway.”

The petite Vibal was a fetching, attractive Adina, a lovely prize as she responded to Belcore’s attention while spurning the hapless Nemorino as portrayed by Gilongo sensitively and persuasively, although a bit too senior for the role. He sang with vocal power, his top notes secure and sustained. Tenefrancia’s performance as Belcore was robust and vibrant, befitting his role as a rather arrogant military man.

The highly seasoned Son was a delightfully amusing quack doctor who dominated every scene he appeared in, masterfully projecting the image of a boastful salesman whose chatter could fool anyone. Despite his long years in opera, Son was obviously still in top vocal form.

As Gianetta, Adina’s friend, Glenda Liao made her every minute count onstage.

Donizetti’s opera is replete with melodious arias, duets and choral songs, particularly Act II wherein ‘Una furtiva lagrima’ (A furtive tear) — one of the most exquisitely lyrical arias in opera — was the high point. Gilongo’s rendition was deeply moving. Vibal followed suit with challenging arias; her timbre and fine control of dynamics seemed to suggest her as Rachelle Gerodias’ successor.

The over-all presentation was highly engaging and entertaining, with director Nonie Buencamino injecting many clever, funny antics into the opera. The casting was splendid. The young, energetic singers of the Viva Voce Ensemble, trained by eminent soprano Camille Lopez Molina who served as piano accompanist, vastly enlivened the evening with their vocal talent and emotive penchant for tomfoolery.

Heartiest congratulations to Filfest headed by president Vicky F. Zubiri. Director Martin Lopez gave the welcome remarks; Lina Racho was a most dependable factotum.

I repeat, the opera proved that a simplified version can be immensely successful.

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Music lovers should not miss the April 20 (8 p.m.) CCP concert featuring Olivier Ochanine, arguably the PPO’s best post-war conductor, and Leeds International Competition winner, the Russian pianist Sofya Gulyak whose earlier Philamlife concert was a tremendous triumph. On April 20, she will play Brahms’ Concerto No. 1.

Ochanine will wield the baton over Stravinsky’s ‘Rite of Spring’.

When the Ballet Russe first danced to that composition in Paris in 1913, it created a scandal. I quote a description of it. “The performance had not progressed very far when catcalls, shouts, and stamping of feet began to drown out the music. Blows were exchanged. Pandemonium followed.”

Acceptance of Stravinsky’s masterpiece was slow but inevitable.