Wexford Festival Opera 2010
Puccini | Gianni Schicchi
Director's notes: Elixir of so perfect, so rare a quality.
I can remember that day like it was yesterday. 1985. I was looking at the window of the record store where over the years I have left most of my substance. Among the new releases, a 3 CDs Box sat in all its splendour with a funny scene on the cover: a pot-bellied soldier offers a bouquet of flowers to a busty country girl. Behind the girl, a young man is looking at her with lust, while another man in a waistcoat seems to be trying to stop him offering a bottle of something: a liqueur? A medicine? A shampoo? The title was not very readable (with its too thin italic, and in red on a light blue field too. Graphic designers should know that this is not the way...). The author, however, was clearly written: Donizetti (no first name, like a brand). (...)
Music director: Richard Barker
Director: Roberto Recchia
Set & Costume Designer:Frances White
Lighting Designer: Pip Walsh
Stage Manager: Aisling Fitzgerald
Belcore: Ian Bedle
Dr. Dulcamara: Thomas Faaulkner
Giannetta: Hannah Sawle
and with Samantha Hay, Emma Watkinson, Raffaele D'Ascanio, Jamie Rock
Recensioni | Reviews
Online Musik Magazin
Recchia raggiunge uno dei punti culminanti del Festival
Recchia is capable of Technicolor strokes which keep you on your toes.
In his programme notes, the irrepressible director of L’Elisir D’Amore, Roberto Recchia, was asked to do a traditional staging, but he went one step further by suffusing the production at Presentation Secondary School with warmth and – his trademark – comic empathy.
Of the Short Works, Roberto Recchia’s L’elisir d’amore was the most ingenious,
Of the three Short Works, Roberto Recchia’s L’elisir d’amore (26th October) was the most ingenious, transferring the action to a modern-day Irish Karaoke bar - one of the virtues of which was to provide a naturalistic raison d’être for surtitles! The PR media show, complete with Twitter links, which accompanied Dulcamara’s sales pitch was a scream - the only down side was that it distracted from Thomas Faulkner’s accomplished singing. Jennifer Davis relaxed into the role of Adina, singing accurately and with character; and while Patrick Hyland may not yet have the Italianate silkiness which ‘Una furtiva lagrima’ demands, his gentle, sensitive articulation was both intelligent and touching. Ian Beadle was an ostentatious Belcore, and Hannah Sawle produced an appealingly flirtatious lightness as Gianetta. After a slightly weighty start, Musical Director Richard Barker kept things flying along at the keyboard, although at over 90 minutes this was hardly a ‘short’ work.