Stockholm.(In Reviews: from around the world: International)(L'Elisir d'Amore at Royal Opera in Stockholm)(Opera Review)

The new production of L'Elisir d'Amore at the Royal Opera in Stockholm had Jonathan Miller taking the directorial chair for the first time in Sweden. Replacing the original Italian village with an American 1950s diner, "Adina's," the director wanted to underline how, in his opinion, representatives of the old European rural way of life can be found today in the American countryside. With a firm belief in "naturalness" onstage, Miller unlocked the acting abilities of his ensemble, although more could have been made of the dynamics between the principal characters. The sometimes overly static postures of the singers gave the impression of an Edward Hopper painting, brilliantly executed by set-designer Isabella Bywater, and the blaring sunlight and neon signs lighting the stage were emblematic of this no-nonsense interpretation. The hardworking, vocally impressive chorus did much to add spark and energy, and the principal singers were well chosen.

Presiding over her diner, the Doris Dayish Adina of Jeanette Bjurling confidently served up burgers and speedy coloratura, compensating for a steely edge in the high notes with a contrasting smooth and sweet mezza-voce in the middle register. Nemorino was a perfect fit for Klas Hedlund, who used his resources cleverly and offered impressively focused tone and secure projection throughout the range, only wavering slightly in the piano passages of "Una furtiva lagrima." Scenically, he was endearing ...