L’Elisir d’Amore (The Elixir of Love) on Tour is directed by Douglas Anderson and conducted by Jeffrey Rink, with Mary Jane Austin on piano.
Approximate Length: 2-1/2 hours (including one intermission)
Tickets will go on sale for the performance at Town Hall Theater in mid-August. Ticket information will be available at a later time for the three other venues.
(The Elixir of Love)
October 10 – Wednesday
6:30 pm – Pre-performance talk by J. Scott Morrison
Memorial Baptist Church
7:30 pm – L’Elisir d’Amore: Opening Night
Town Hall Theater
Post-perfomance talk-back and reception
October 12 – Friday
Time TBA – L’Elisir d’Amore Performance
Casella Theater, Castleton University, Castleton, VT
October 13 – Saturday
7:00 pm – L’Elisir d’Amore Performance
Highland Center for the Arts, Greensboro, VT
October 14 – Sunday
3:00 pm – L’Elisir d’Amore Performance
Chandler Music Hall , Randolph, VT
The Cast of
(The Elixir of Love)
Please see a listing of the Artistic and Technical Staff under About.
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Soprano Bevin Hill is gaining attention as a performer of great charm and charisma in a variety of leading roles. Particularly cherished for her comedic gifts, Ms. Hill has memorably been lauded as a “rubber-kneed goddess of slapstick.” A beloved guest artist of Opera Company of Middlebury, Ms. Hill has appeared with the company as Papagena in The Magic Flute, Belinda in Dido and Aeneas, Léïla (cover) in Les pêcheurs de perles, Lisette in La rondine, as Nella (Gianni Schicchi) and Sr. Osmina (Suor Angelica) in Il Trittico, and in the company’s 10th Anniversary Concert. During the 2016–17 season, Ms. Hill made her debuts with Missouri’s Heartland Opera Theatre as Adina in L’elisir d’amore and Florida’s First Coast Opera in a double bill of Gilbert & Sullivan’s Trial by Jury and Tucker & Sheeley’s The Trial of B. B. Wolf. Ms. Hill has fulfilled young artist residencies with Opera Iowa, Des Moines Metro Opera, Arizona Opera, Opera Saratoga, and Opera Company of Middlebury.
Tenor Joshua Collier was hailed as “a great Italian tenor on the make” by Classical Scene in his June 2016 role debut as Roméo in Roméo et Juliette, and lauded by the classical Voice of North Carolina for his “exceptionally pleasing tone, and excellent command of [his] high range.” He is equally comfortable with new music, opera, operetta, musical theater, and oratorio. This winter, Mr. Collier was an advanced studio artist with Sarasota Opera (FL) where he performed in Madama Butterfly and The Dialogues of the Carmelites. He will appear as the role of Ibarra in Opera Brittenica’s (Boston) production of the Filipino opera, Noli Me Tangere in June, and in August will perform his role debut of Rodolfo in Puccini’s La Bohème with Vermont Lyric Theatre. Mr. Collier is proud to be represented by Berger Artist Management. Full details of his performance schedule, as well as links to past performances may be found at bergerartists.com/joshuacollier.
A “powerful, melodious baritone” with “soul and passion” are the enthusiastic reviews being received by baritone Christopher Holmes. Outstanding musicianship and a rapidly expanding repertoire are establishing this baritone as an artist in demand. With over 35 operatic roles to his credit, Christopher has been featured with Austin Lyric Opera, Central City Opera, Eugene Opera, Opera Idaho, Phoenix Opera, San Antonio Opera, Utah Symphony and Opera, and Utah Festival Opera. As a full-lyric baritone, Holmes encompasses a large range of roles from Mozart’s Figaro, Guglielmo and Papageno and also beginning to make his mark in the Verdi repertoire with such roles as Di Luna, Renato, and Rigoletto. His Germont was praised as “with crystal clear enunciation, truly polished, controlled, professional and superb.” Having made his international debut in Italy as a guest of Opera Orvieto in the role of Don Giovanni, Holmes received music degrees from the conservatory at Oberlin College and Temple University. He returns to OCM for the third time for this production.
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Bass-baritone Kian Freitas is gaining acclaim for his voice that “soars easily over the orchestra,” commanding stage presence, and insightful interpretations in both opera and concert. His repertoire embraces the romantic Italian repertoire (Raimondo in Lucia di Lammermoor, Monterone and Sparafucile in Rigoletto, Ferrando in Il trovatore, Schaunard in La bohème, Angelotti in Tosca, Lo zio Bonzo in Madama Butterfly); French opera (Escamillo in Carmen, Le Bailli in Werther); Mozart (the title role of Le nozze di Figaro, Masetto, Leporello, and Il Commendatore in Don Giovanni, Guglielmo in Così fan tutte); and 20th-century American works (Olin Blitch in Susannah, Grandpa Moss in The Tender Land). During the 2016–17 season, Mr. Freitas joined Opera San José to both cover and perform Raimondo in Lucia di Lammermoor, and made his debut with the South Dakota Symphony as Leporello in Don Giovanni. He made his debut with Opera Company of Middlebury in Il trittico in June 2017.
Soprano Rachel Hall makes her debut in the title role in Dell’Arte Opera Ensemble’s production of The Cunning Little Vixen, and in October rejoins Opera Company of Middlebury to perform the role of Giannetta and cover the role of Adina in L’elisir d’amore. In 2018, she joins the Canton Symphony in Carmina Burana. Past roles include Gretel (Jacksonville Symphony, Little Orchestra Society at Avery Fisher Hall), Adeline (original off-Broadway production, Serenade), and Adina (Shreveport Opera). Equally at home in concert repertoire, she has performed Beethoven #9 and Brahms’ Requiem (Canton Symphony) and Mozart’s Exsultate Jubilate (Santa Fe Symphony). Ms. Hall spent two seasons at Santa Fe Opera singing Barbarina (Le Nozze di Figaro) and performing scenes (Ariodante, Don Pasquale, Gianni Schicchi, The Turn of the Screw) and one season with Shreveport Opera, performing Micaëla (La tragédie de Carmen) and Valencienne (The Merry Widow). She earned her MM degree at Manhattan School of Music and her BM in Voice Performance and Music Education from Appalachian State University.
Described as, “brilliant, nuanced, and lyrically expressive,” (Times Argus) Allison Devery, soprano, spans her vocal artistry in classical, musical theater, and contemporary music. Notable performances include Nora in the world premiere of Paul Siskind’s The Sailorboy and the Falcon alongside mezzo-soprano Stephanie Blythe, Aello in the Canadian debut of Marc Blitzstein’s The Harpies and Amaranth in Steven Serpa’s Thyrsis & Amaranth in Nova Scotia. Additionally, she has played leading roles in productions including The Telephone, The Marriage of Figaro, La clemenza di Tito, A Fleeting Animal, The Mikado, Candide, The Fantasticks, The King and I, Guys & Dolls, and Into the Woods and is a highly sought after concert soloist, having performed with notable groups from New York City and Montreal, and throughout the state of Vermont. Allison received her training from the University of Montreal and the Crane School of Music.
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Mezzo-soprano Heather Jones is thrilled to return to Opera Company of Middlebury after appearing as a Young Artist in 2016. This season, Heather completed a tour of Seagle Music Colony’s children’s opera Little Red’s Most Unusual Day (Mother/Granny) and performed The Cradle Will Rock with Opera Saratoga (Sister Mister), The Island of Tulipatan with Light Opera of New York (Théodorine), and Die Fledermaus with Sinfonietta Nova in Princeton, NJ (Orlofsky). Other credits include: Dido and Aeneas (Dido) Cosi fan tutti (Dorabella), Le nozze di Figaro (Cherubino), Idomeneo (Idamante), Faust (Siebel), Madama Butterfly (Suzuki), and The Most Happy Fella (Cleo). In 2017-2018, Heather joins the roster of Opera Philadelphia for their production of Carmen. Heather has a B.M. in music education from Westminster Choir College and an M.M. in voice performance from Mannes College in NYC and is a student of OCM alum, Bill Burden.
Cameron Steinmetz is a native of Norwood, Massachusetts and an alumnus of Green Mountain College and Castleton University. Past roles include Luiz in Gilbert & Sullivan’s The Gondoliers, the Steward in Stephen Sondheim’s Into the Woods, Matt in Schmidt & Jones’ The Fantasticks, Galahad in Idle, Innes & Du Prez’s Spamalot!, Seymour in Menken & Ashman’s Little Shop of Horrors, Jamie in Jason Robert Brown’s The Last 5 Years and Ralph Rackstraw in Gilbert & Sullivan’s H.M.S. Pinafore. Other soloist performances include Handel’s Messiah with the Rutland Area Chorus, and in Mozart’s Requiem, Coronation Mass & Vesperae solennes de confessore with the Vermont Collegiate Choral Consortium. Furthermore, he has previously performed in the chorus with the Opera Company of Middlebury, starting with Massenet’s Thaïs and most recently Verdi’s Macbeth. Montpelier resident Steinmetz is also a member of Counterpoint Chorus and tenor in the Vermont Symphony Orchestra’s educational quartet, Ah! Cappella.
Geoffrey Penar: Bio will be posted soon.
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(The Elixir of Love)
L’Elisir d’Amore (1832) is the earliest of Gaetano Donizetti’s operas never to have left the active repertory of companies around the world. Its libretto is an almost exact Italian translation by Felice Romani of an 1831 opera in French by Daniel Auber, Le philtre, with libretto by Eugéne Scribe. There were at least 30 productions of the opera in the US in 2016. Why, then, are we doing it? Because it is an engaging story set to luscious music, and we have the perfect singers for it.
Adina, a wealthy and capricious woman, soprano
Nemorino, a poor young man in love with Adina, tenor
Belcore, Sergeant in the army, baritone
Doctor Dulcamara, an itinerant con artist, bass
Gianetta, Adina’s friend, soprano
Act I: The unsophisticated Nemorino falls hopelessly in love with the wealthy Adina, who amuses everyone by reading aloud the story of Tristan and Isolde and an astonishing love potion. Sergeant Belcore enters and attempts to woo Adina. Nemorino is upset when Adina seems to fall for the pompous military man. The con artist Dr. Dulcamara arrives to peddle his fake elixirs for various conditions. Nemorino buys a bottle of Dulcamara’s love potion, believing that if he drinks it, it will make Adina fall in love with him. He is assured that it will work within 24 hours. He drinks the potion, which is actually cheap wine, but then he hears Adina agree to marry Belcore that very day.
Act II: Adina’s and Belcore’s wedding feast is underway. Adina stalls the officiating notary. Nemorino is desperate to buy more love potion but can’t afford it, so he enlists in Belcore’s army unit, since an enlistee gets a bonus for signing up. The local girls learn that Nemorino’s rich uncle has died and made him heir and begin fawning over him, leading him to believe that the elixir is actually working! Adina learns from Dulcamara about Nemorino’s purchase of the love potion. Nemorino confesses he would rather die than lose her (‘Una furtiva lagrima’ [A Furtive Tear]). Adina then buys back his enlistment and confesses that she loves him. A celebration ensues.
(The Elixir of Love)
Our own resident music expert, J. Scott Morrison, has compiled a list of his favorite recordings and videos of L’Elisir d’Amore. We hope you enjoy them.
With Luciano Pavarotti and Kathleen Battle.
With Plácido Domingo and Ileana Contrubaş.
Adina’s aria Prendi, per mei se libero sung by Anna Netrebko (with Rolando Villazon) – subtitles, alas, only in German.
Duet (Nemorino, Adina) Caro elisir – Luciano Pavarotti, Kathleen Battle (no subtitles).
https://www.youtube.com/watch?v=msSyBPLe4xs (click the x on the pop-up ‘Rarity’ to get rid of it)
Nemorino’s aria Una furtive lagrima – Plácido Domingo (1978 – terrible video, but the singing!).
Una furtive lagrima – Pavarotti.
The full opera on YouTube – from the Vienna State Opera – with Anna Netrebko and Rolando Villazon – subtitles in German, alas, but a marvelous performance.