An old, familiar scent of elixir forty years later

For the fifth time, the Gran Teatre del Liceu is reviving Mario Gas's production of The elisir of love by Gaetano Donizetti, one of the most iconic shows of the house. When it was first performed (in the midst of post-fire exile and at the Teatre Victòria), the production had already been seen at the Grec (1983) and, ten years later, at the Peralada Festival, until in 2005 it took to the stage of La Rambla.

Gas's performance is a true celebration and remains timeless thanks to its infectious energy. More than forty years later, that familiar scent of love potion retains all its charm and good vibes.

The three scheduled casts include house singers alongside established artists and others making their Liceu debuts with this production. This is the case, for example, of New Zealand tenor Filipe Manu (replacing the still-unwell Javier Camarena in the first performance), who displays a beautiful lyric-light voice, although his projection could be improved and his neck projection is lacking. But he gave his all, especially in a second act that was generally much more musically interesting than the first.

Also better in the second half, Serena Sáenz no longer needs to prove anything at this point. Her duets with Dulcamara and Nemorino demonstrated that her meteoric rise is fully justified: good taste, a fine vocal line, and bold attacks on the high notes make her Adina a true delight, despite the Catalan soprano's expressive restraint in the first act.

Dulcamara's role is a real treat, and the great Ambrogio Maestri delivers a monumental performance. The slight strain on his voice is compensated for with highly effective tricks in the purest style of... basso buffo and with a simply masterful stage performance.

Huw Montague Rendall's Belcore was another highlight of the performance, thanks to the beautiful timbre, expressive power, and acting of the British baritone. Anna Farrés's Gianetta was a pleasant surprise, too.

The orchestra and especially the heart did a good job, despite the rather impersonal baton of Diego Mathewz, who occasionally covered some voices in need of less symphonic volume and who had some problems with coordination.

The final joy of those attending this performance still bodes well for its long life. Elisir de amore, which now occupies the Liceu stage for fourteen performances until December 15.