L’elisir d’amore
Now that a general overview of each character has been drawn, a second reading of the libretto should reveal more detail about the characters and their interactions with one another. In this process, we are adding levels of understanding by being more aware of the details we encounter in the dialogue and stage direction. It should be noted that, once again, we are reading ONLY the libretto and not consulting the score. Once we have uncovered our understanding of these characters through their words, we will then turn to the score to reconcile or rethink our observations based on the composer's interpretation of text and circumstances.
Notes for Act I
Nemorino: Hopeless romantic. Generally lacking in self-confidence considering his self-deprecating remarks (eg. “I’m always an idiot”, “I’m not good enough”). What is the extent of previous interaction between N. and Adina? She obviously knows who he is and something about him since she speaks to him with familiarity and knows about his rich uncle.
Adina: Clearly independent, well educated and well spoken. She is intentionally the “photo-negative” of Nemorino. So perhaps this can be played up in various ways (clothing, body-language, general appearance, diction [?]). The opening scene establishes the contrast between these two in that he confesses to being “un idiota” and she, in fact, is engrossed in reading (and telling) the story of Tristan.
Q: To what extent, and in what manner, should Nemorino’s own lack of confidence be exhibited in how he sings?
Q: Any significance in the words “belta crudele” in Adina’s reference to Isolda? A. is, in fact, reading – so the words are not her own. Still, in this brief passage, Isolda is called “cruel” twice. Surely meant to reflect Adina’s own character, but probably should not be unnaturally emphasized.
Belcore: What to make of his apparent knowledge of Greek mythology? Do the villagers understand his reference? Is it a legitimate knowledge, or simply a nugget he uses for self-serving purposes? His arrogance certainly knows no bounds and so it is easier to assume he is not particularly well read; although he is literate.
Adina’s first reaction to Belcore is a sarcastic “e modesto” to the chorus. I suspect, however, that Giannetta and the chorus are more awestruck by Belcore’s flash than really aware of Adina’s attitude. Therefore, their “si, davvero” should be with full enthusiasm.
Belcore’s ego is enormous; but he seems far less refined than he believes. His aria should, perhaps, be full of flash and testosterone, but maintain its rough edges.
Double entendre on “non v’ha bell ache resista alla vista d’un cimiero”? Examine this musically to see.
Great difficulty in connecting to characters with any depth in this work. Perfect example being Belcore’s marriage proposal after first seeing Adina, AND considering she hasn’t yet said a single word to him directly. Perhaps some believability if we assume they are not meeting for the first time but, perhaps, he flirts with her on a regular basis and this whole act is really nothing new. In fact, there might be some good opportunity then to allow his pleadings of love to be a bit more exaggerated. However, Adina’s reaction with “vedete di quest’uomini…non e si facile Adina a conquistar” almost suggests she is not so accustomed to this from Belcore. I think this relationship can be played in different ways, so need to get a read from S.D. regarding this. Still, why does Adina say she’d like to think over his proposal, rather than just saying ‘no’, if she really is indifferent to him?
Nemorino admits that he is too timid to approach Adina and is in awe of Belcore’s confidence and swagger.
Ah! The chorus and Giannetta seem to be well aware of Belcore’s “act” as they comment it would be crazy if Adina (the clever old fox) actually fell for it. SO – revise the thought about their earlier “si, davvero”.
Belcore is so confident about himself that her simple agreement to allow his soldiers to rest in the shade and offer him something to drink implies, to him, her devotion to him “io gia sono della famiglia”.
Nemorino does take up the courage to talk to her, with his “usual sighs”….so what is it he believes himself to be so ‘timid’ about? He is not too shy to talk to her, so it must be more his lack of self-confidence that he sees Belcore displaying.
How does Adina speak to him? Is it with a genuine annoyance or something more playful? If it is annoyance, is it due to him or to an annoyance with Belcore that she snaps at Nemorino? I suppose she must, at the very least, bit a bit tired of Nemorino as, in all likelihood, these really are the same words and sentiments. Take ‘no’ for an answer already!
Adina speaks very frankly to Nemorino. She really can’t be accused of lying or manipulating him. This is, I suppose, an admirable trait and explains why she must get tired of his constant approaches. But despite this, she is rather passive-aggressive and takes the opportunity to not only suggest his efforts are in vain, but to deliberately hurt him by suggesting he could never woo her like Belcore.
Adina tells Nemorino that she cannot be satisfied; and that there isn’t “a whim that doesn’t die as soon as it is aroused.” N. attentively asks her why that is. It may be the most probing question anyone asks in this opera! Does Adina’s attitudes regarding her “fickle” and “unfaithful” nature reflect her true awareness of herself or is it just her way of telling Nemorino to “give up loving me”? Assuming Adina is not genuinely familiar with the principles of Love, Freedom and Aloneness, her advice to love as she does (a new love each day), is surely intended to reveal her as only fickle and lacking a substantial love in her life. It is possible, if Nemorino is to be played with any depth, that he does recognize that behind such a wall as A. is putting up, there is an opportunity if he can truly grant her something she has not experienced.
Nevertheless, Adina is an independent woman: educated, articulate, wealthy, beautiful. It makes sense that she feels no need to commit herself to a man (even in the day and age) in order to feel complete. At the very least, he seems to have perseverance (stubbornness) on his side.
Entrance of Dulcamara: The theatrics of his entrance must be as ‘big’ as his personality. No place for subtlety.
Dulcamara’s first address, in all likelihood, would have a circus-like ring master quality. Well rehearsed, flashy, etc.. With such colorful and carefully chosen words, surely the color of the language itself needs to be exploited as much as possible.
Dulcamara has little respect for the people of this, his native region; and even less for Nemorino (“a bigger dimwit I’ve never encountered”). It’s not entirely clear why Dulcamara would think N. to be unique simply for asking for a love-potion. Surely amongst all the fake remedies and cure-alls he peddles to people everywhere, this is not the silliest thing for which he’s ever been asked.
When Nemorino and Adina encounter each other again, he exhibits the modest confidence that belief in the elixir instills. He doesn’t approach Adina as usual, since he recognizes that “tomorrow she will love him”. However, this unusual behavior on his part disturbs Adina. Despite the fact that she claimed to be so bored and annoyed by his constant approaches (which she likely was), she reveals now openly that she has a need to be admired and the center of his attention. The first time he does not approach her, it rather enrages her, causing her to vow that he will have to feel the “weight of his chains heavier than ever before.” The girl seems to have some issues. She cannot ignore his apparent indifference and must confront him about it – even challenging him as to whether or not he can follow her advice to actually forget his love for her.
Belcore really betrays his nature when one of his first references to himself is that he uses “pointed weapons in both love and war”. Seems to say it all.
*Nemorino observes “E qua il seccator”, implying a familiarity with Belcore. Castel figuratively translates this as “that nuisance is here again.” This answers my earlier question as to whether or not Belcore is already known to Adina and everyone else. Obviously he is a regular, which explains much of the dynamic between Belcore and Adina. This is nothing new. [I did not observe this line during my first read-through of the libretto!]
Q: Is Adina convinced that Nemorino is pretending not to be interested, or genuinely concerned that he really has lost interest? She confesses her inability to hide her anger over it any longer while, at the same time, Nemorino demonstrates his annoyance with Belcore’s arrogance: “Gradasso!”
The love-triangle of this preceding scene does seem to define the characters within it. Adina reveals her need to be the center of attention, even from Nemorino. She cares nothing for Nemorino’s feelings, only whether or not his suffering is for her. She takes pride and delight in causing him pain. Nemorino may or may not be aware of Adina’s nature, but he is convinced of his own Love for her. His own naïveté is what builds him up. Belcore is concerned with neither Adina nor Nemorino as much as with admiring himself.
After Gianetta informs Belcore that he and his men must move out in the morning, Nemorino observes that “Adina is upset.” Adina says nothing, so this must be some sort of visual reaction to the news.
Adina takes her only pleasure in seeing that Nemorino does become upset when Belcore suggests they should marry ‘today’. This just fuels Adina, and so she agrees (only to torment N.).
Belcore shows his extreme agitation with Nemorino once N. does beg Adina to postpone until tomorrow. Belcore knows of no way to deal with Nemorino other than threatening to beat him if he does not go away.
