The New National Theatre Tokyo recently presented the fifth revival of Cesare Lievi’s popular 2010 production of L’elisir d’amore. At the 16 May matinee, the foyer buzzed with an audience dressed in vibrant hues that mirrored the famously colourful staging. This festive atmosphere was further heightened by the sale of Tuscan wines named after the opera’s main characters—even if, as Dulcamara himself later confesses, the true ‘elixir’ is merely Bordeaux.
Lievi’s production cleverly employs the ‘book’ as a central metaphor, creating a symbolic world that seems to leap from the page. When the curtain rises, Adina is reading; as the village’s sole literate resident, her ability appears almost magical to the uneducated townsfolk. Nemorino is doubly captivated—both by her literacy and by the legend of ‘Tristano e Isotta’ (Tristan and Isolde) she recites. He instantly projects his own desires onto the narrative, even if Donizetti’s comical potion is a far cry from the fatal elixir later immortalised by Wagner. Featuring whimsical props, including a nine-metre-long book and giant alphabet letters, this is a fantastic, high-impact production—as bubbly as champagne and as delightfully vivid as a pop-up book.
The all-Italian principal cast was superb. Making a brilliant house debut as Adina, Francesca Pia Vitale captivated with her silvery soprano and coquettish charm. Her dramatic arc was entirely convincing, tracing a nuanced path from haughty, queen-like aloofness to vulnerable jealousy, and finally, genuine devotion. In Act 2, her duet with Dulcamara, ‘La ricetta è il mio visino’, was utterly enchanting, but the pinnacle of her performance was ‘Prendi, per me sei libero’; opening with a delicious messa di voce, it offered a deeply sincere, truly memorable rendering of the bel canto line.
As Nemorino, Matteo Desole persuasively embodied the lovable simpleton. Though his entrance was somewhat overpowered by the massive, almost Verdian chorus, he found his vocal stride after his first sip of the ‘elixir’. His ‘la rà, la rà, la lera!’ might have benefited from more physical movement—even if not at the level of Rolando Villazón’s iconic apple-juggling at the 2006 Vienna State Opera. By contrast, his ‘Una furtiva lagrima’ was deeply touching. Emerging from the darkness onto a bare stage atmospherically lit by Yuji Tatsuta, the moment provided a striking antithesis to the hyper-coloured staging. Ushered in by the exquisite arpeggios of the harp, it allowed the audience to fully appreciate the tenor’s lyrical beauty.
Veteran bass-baritone Simone Alberghini was a suitably scheming Sergeant Belcore. While projecting ample volume, his performance was more compelling dramatically than vocally, owing to a heavy vibrato that occasionally obscured his legato line. He was at his finest in his duet with Nemorino, where his crisp delivery of the rapid parlando sections allowed his impeccable Italian diction to shine.
The afternoon’s triumph belonged to Marco Filippo Romano, making a spectacular house debut as Dulcamara. Instead of the traditional carro dorato (golden chariot), Lievi’s quack doctor arrives in a light aircraft, flanked by two long-legged, Martian-like assistants. Romano’s well-supported, burgundy voice filled the auditorium effortlessly, combining remarkable agility with the consummate timing of a true buffo artist. Whether delivering ‘Udite, udite, o rustici’ from atop the aeroplane’s wings, anchoring the large ensembles, or striking comic sparks in his duets with Nemorino and Adina, his presence was magnetic. Resplendent in a wizard-like, reddish-orange costume and green hair, he completely dominated the stage. Whenever he appeared, his chemistry with the audience was palpable, rightfully earning him the loudest ovation of the afternoon.
In the pit, Marco Guidarini led the Tokyo Philharmonic Orchestra with assured tempi, showing a sensitive understanding of when to let his singers breathe. Under his baton, the orchestra fully brought out the vivid colours of Donizetti’s score. There was a delightful, stylish synchrony between pit and stage; at the opening of Act 2, Dulcamara’s long-legged assistants entered the auditorium to playfully entice the Maestro into buying their ‘elixir’—not one, but two bottles!—which he happily drank before immediately launching into the lively introduction. The NNT Chorus was as powerful and versatile as ever, with the women especially impressive in Act 2, anchored by Sachie Konno’s amiable, sweet-toned Giannetta. Ultimately, this was a thoroughly enchanting revival, perfectly suited to a bright May afternoon.
Natsuko Hirakura
L’elisir d’amore
Melodramma giocoso in two acts by Gaetano Donizetti
Libretto by Felice Romani
Cast and Production Staff:
Adina – Francesca Pia Vitale; Nemorino – Matteo Desole; Belcore – Simone Alberghini; Dulcamara – Marco Filippo Romano; Giannetta – Sachie Konno
Production – Cesare Lievi; Set Design – Luigi Perego; Costume Design – Marina Luxardo; Lighting Design – Yuji Tatsuta; Tokyo Philharmonic Orchestra and New National Theatre Chorus, Conductor – Marco Guidarini
New National Theatre Tokyo, 16 May 2026
All photos © Koji Iida