Madina Karbeli and Matteo Mezzaro.

Indeed it was. When I first heard that there was going to be a re-interpretation of Donizetti’s perennial favourite L’Elisir d’Amore, I wondered what director Denise Mulholland would do with it. She transformed the location from the rural 1830s to the Costa Amalfitana in booming 1950s Italy. The traditionalist in me wondered anew: Adina as a hotel owner full of tourists and staff and Nemorino as a bumbling porter?

Yet, it worked and one did not really mind that soldiers turned sailors have no sergeants. It was to be a most enjoyable experience because the music and libretto do their bit too, as do the singers and the orchestra and the whole team.

Well, for one Mulholland wanted this work to be fun and so it was. Yet, the special appeal in this evergreen work is that, apart from the comic situations, there are moments of really moving pathos.

Donizetti’s musical brush paints his characters very distinctly and, when one has such a fine, flowing beautiful score and a marvellous libretto, the work cannot fail to succeed and to please.

One needs very well-planned teamwork for this and it was audible and visible. Geoff Thomas as chorus master and Juliette Bisazza’s precious input resulted in having a marvellously well-prepared chorus who were gadding all over the place at times, yet never in confusion.

Clear diction reigned supreme, as did precise cues, balanced tones and well-directed acting that was as natural as could be.

The key role of the Malta Philharmonic Orchestra was a vital element in the evening’s enjoyment

Pierre Portelli’s set design, Isabel Warrington’s very authentic-looking costumes and artwork, Kenneth Zammit Tabona as artistic director and Chris Gatt’s light design were valuable ingredients in the mis en scéne. Needless to say the key role of the Malta Philharmonic Orchestra under Philp Walsh’s excellent reading of the work was a vital element in the evening’s enjoyment.

Balance ruled supreme and not even in the most boisterous scenes did the orchestra overpower the singers.

The Manoel Theatre presented this opera on four consecutive nights with two different casts on alternating nights. Right from the start, one must point out the high level of singing, with room for improvement here and there.

Soprano Madina Karbeli’s Adina had all it takes. Presence, comely looks and a very beautiful voice of crystalline clarity, which remained steady and sweet-toned even in the highest coloratura passages.

She gave Nemorino a hard time with her cynical attitude and indifference, which later turned to feigned indifference. Then, adieu, and she declares herself in love with the Nemorino she had so cruelly teased before.

Matteo Mezzaro’s Nemorino had a lot of good points to it, even if it took quite some time for his voice to grow on one. For quite a while, he strained at his top notes and his voice did not completely blossom before his touching imploring of Adina in Adina Credimi!

He continued doing well, until his Una Furtiva Lacrima fell a bit short of the desired effect, even if he recovered again for the rest of what was left of the opera.

­Somehow, one tended to like the two rogues possessing the lower voices in the male register. That, despite the fact that Belcore is a hopeless braggart and quite a ridiculous bore – but baritone Philippe-Nicolas Martin’s very fit interpretation had a kind of swagger about it, which carried off his part with some admiration thanks also to characterisation and a voice with which to carry it off.

Basso buffo Emilio Marcucci managed to muster a lot of sympathy with his Dulcamara, a sort of charming villain who was also on top vocal form, who ends up believing in his fake elixir.

His sidekick/assistant (Antonella Mifsud) came as a silent breeches role who said nothing, but still spoke volumes. The secondary role of Giannetta was taken by soprano Francesca Aquilina, who did full credit to her role.

As I said elsewhere, some years ago the Manoel Theatre took abroad its successful production of Donizetti’s other comic masterpiece, Don Pasquale. This one of Elisir should follow step.