This co-production with Lyric Opera of Chicago is definitely festive. The action takes place at the restaurant of the Hotel Adina (pictured, photograph by Cory Weaver), owned by Adina, where Nemorino is a waiter. We are outside and can see the sea. The set and costumes are supposed to evoke Fellini's La Dolce Vita, and many of the characters do look very stylish. There are also three Vespas on stage in one of the scenes. The only down side of the set is that they brought the curtain down twice to change scenes, even though the set essentially stayed the same. It seems that something more artful might have been employed though everything happened reasonably rapidly.
Conductor Ramón Tebar's San Francisco Opera debut sounded fine, the orchestra played well, especially the woodwinds. There were a few moments when the orchestra got slightly ahead of the singers, but got back on track quickly.
The chorus was very funny and all the choristers sang together robustly. Baritone David Bizic was suitably blustery and arrogant as Belcore, he does sound gravelly in his lower range but for this role was not a problem. Baritone Renato Girolami was very amusing as Dulcamara, and his voice too has texture to it, more of a gritty sound. I never much noticed the role of Giannetta before, but Alder Fellow soprano Arianna Rodriguez sounded lovely, her voice is very clean.
Tenor Pene Pati is truly a charming Nemorino. His voice is absolutely beautiful, bright and clear throughout his range and he sings with ease. His "Quanto è bella, quanto è cara" in Act I was impressive, and his "Una furtiva lagrima" was plaintive. He was well matched with soprano Slávka Zámečníková, in her American debut. Her voice is elegant and very pretty, and she seems to sing without effort. Her Act II aria "Prendi, per me sei libero" was splendid.
* Tattling *
The house looked entirely full, as this was both the prima and a matinée. There wasn't much talking or electronic noise in Box Z, only lots of laughs around us. I did hear a cellular phone ring right before the Barcarolle in Act II, Scene 1.
There was some sort of very loud alarm that went off right before "Una furtiva lagrima" that sounded like a bird warbling. The maestro stopped the music and asked for it to be turned off before starting over again.