Utah Arts Review

Utah Opera’s production of Donizetti’s two-act comedy The Elixir of Love, which opened Saturday night,, is a clever re-imagining that transports the setting from early 19th century Italy to the orange groves of Southern California a century later. 

Oftentimes moving an opera to a different locale and time period fails miserably. But this new staging — premiered at Minnesota Opera in 2024 and the brainchild of stage director Daniel Ellis and scenic designer Jaime Mejia — does an excellent job transforming the setting by capturing the atmosphere of Southern California in the early 20th century with its Mission-style architecture and period costumes. with Utah Opera’s production being the second time this version has been presented. 

Utah Opera has assembled a fine cast of singers for this production, all of whom have superb vocal and acting chops. 

Katrina Galka gave a stellar performance as the wealthy citrus grower Adina, singing her role with passion, lyrical expression and emotional depth. She has a silvery voice that is never strained in the high register and possesses rich warmth in her lower range. Galka gives a refined, and well-expressed interpretation of her first aria, “Della crudele Isotta,” in which she recounts the story of Tristan and Isolde to the townsfolk, and which also sets the stage for the opera’s plot — her initial indifference to Nemorino’s feelings for her until she at long last realizes he truly does love her and she him.

Daniel O’Hearn, a former Utah Opera resident artist, is in top form as the lovelorn villager Nemorino. He possesses a well-defined richness throughout his vocal range, and his shimmering lyricism allows him to sing with effortless ease. His acting gives him credibility in his role, and he transitions easily from being heartsick to being overjoyed knowing that Adina loves him. 

The tenor brings quite a bit of charm to his opening aria, “Quanto è bella, quanto è cara,” in which he expresses his love for Adina. And O’Hearn brings tender, heartfelt lyricism to the opera’s most famous aria, “Una furtiva lagrima,” where he realizes that she actually does love him.

He and Galka have great chemistry, even in their interactions where Adina brushes off Nemorino’s shy advances. There is just the right amount of tension in their early relationship that all gets happily resolved without coming across as unnatural or forced. Adina’s aria that turns into a duet with Nemorino, “Prendi, per me sei libero,” is filled with exquisite passion as Adina finally confesses to Nemorino that she loves him.

Alexander Birch Elliott gives a fine account of the arrogant Sergeant Belcore, who thinks every woman loves him, and who forces Adina into reluctantly accepting his comical marriage proposal. He expresses the right amount of swagger in his introductory aria “Come Paride vezzoso,” where he compares himself to a Greek god. 

As the charlatan Dr. Dulcamara, Daniel Belcher brings an almost over-the-top comic characterization as he persuades Nemorino into buying his “love potion,” which in reality is just a bottle of cheap wine. His light baritone is perfectly suited to his role, and Belcher sings the patter song “Udite, udite, o rustici” with easy flowing expressions.

Dancer Gemma Isaacson is marvelous in an added role as Dulcamara’s assistant. A non-speaking role, Isaacson is nevertheless stunning in her facial expressions and lithe movements as she mimes her disgust for what Dulcamara sells, yet still helps him into duping the people who have gathered around them. 

In the small role as Giannetta, current Utah Opera resident artist Stephanie Chee gives a fine vocal performance that soars above the chorus. And the Utah Opera Chorus once again gives a standout performance singing with clarity and well defined intonation.

Ellis’ efficient stage direction allowed the action to transition seamlessly between scenes. His pacing was brisk and kept the spotlight firmly on the comedic essence of the story.

Conductor Steven White led members of the Utah Symphony in solid and crisply articulated playing.     

Utah Opera’s The Elixir of Love runs through March 15. utahopera.org