"Mezzo-soprano Adriana Zabala gave a dramatically compelling, beautifully sung performance in the title role on Friday. . . Tenor Matt Morgan brought energy and a warm sound to the role of Drouet" - Milwaukee Journal Sentinel Read full review.
"Mezzo-soprano Audrey Babcock gives Donna Elvira more of a spine than many directors often allow. As such she serves as an ultimate foil to Giovanni, not the mere doormat that he has used and tossed aside. Elvira still provides many of the humorous moments in the opera. Dressed as an adventurous aviatrix straight out of an F. Scott Fitzgerald novel, however, Dalton and Babcock establish Elvira as a woman to be reckoned with. From her opening aria, "Ah, chi me dice mai," Babco
"Portraying Dr. P with charm and sympathetic humility bass Matthew Treviño immediately earns the listener’s attention and affection. . . Treviño’s singing in this scene is unstintingly powerful, his ruggedly attractive timbre deployed with full cognizance of the ways in which the basic sound of the voice influences the ways in which the words greet listeners’ ears." -Voix des Arts
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"Noel Bouley gibt den Don Alfonso mit schlagfertigem und biegsamem Bariton. Bouley gelingt ein kraftvolles Porträt. Bouley ist weniger der abgezockte Zyniker der Herzen, mehr wissender, kluger Begleiter. / Noel Bouley gives the Don Alfonso a striking and flexible baritone. Bouley succeeds in a powerful portrait. Bouley is less the ruffled cynic of hearts, and more the knowledgeable, clever companion." -Opern & Konzertkritik Berlin Read full review.
Gaetano Donizetti himself described his ELIXIR OF LOVE, which premiered in 1832, as an “opera buffa”, yet there is little to laugh about in this supposedly comic opera. No different from his DON PASQUALE, composed a decade later, ELIXIR OF LOVE is a work whose mirth is rooted in gentle melancholy. Despite the happy end, the chance that things might have taken a turn for the worse is ever-present, as is the threat that the misunderstandings and coincidences that pepper the nar