“Lanzino’s concept is simple and ingenious at the same time. (…) Initially, the classic story of this opera is told in fast-forward mode up to the wedding of Adina and Nemorino. This may be offensive to belcanto purists, but for the tension and dramaturgy of the work in this production, it’s a gain. The appearance of Dulcamara 2.0 abruptly interrupts the classic plot. The digital miracle doctor sells his modern love potion with his entrance aria, essentially an Elixir 2.0, and the story begins again, but this time in a futuristic future. (…) a colorful, cheerful, but also thoughtful spectacle. Despite this futuristic design, the production is not made at cross-purposes with the work, but is precisely and deliberately tailored to the music and libretto, which works astonishingly well. It’s an exciting opera evening that has shown that classic and modern productions can be brought into harmony when one doesn’t stage past the work. This succeeds impressively in Nuremberg. This production not only has the makings of a long-running hit, it could also inspire a younger audience.”

O-Ton

 

“Donizetti’s ‘The Elixir of Love’ at the Nuremberg Opera poses serious questions with lots of fun. At the Nuremberg Opera since Sunday evening, under the direction of Ilaria Lanzino, it fully delves into what causes sociology great concern about the amorous present of civilized nations. Namely, the shift from physical to digital partner selection, love as short-term pleasure, people as consumer goods, and the stupidity of self-presentation on social media. Creepy. (…) after the last notes, the entire hall cheered unanimously”

Donauer Kurier

 

“Ilaria Lanzino realizes her idea with charm and irony (…) For the first time in opera history, there are two charlatans named Dulcamara: the comfortable love potion mixer in traditional costume and number two as a devil from the darknet, who seduces the cheerful village folk to smartphones and tablets (…) The audience is happy that Ilaria Lanzino makes the incessantly tapping computer world burst. The farmer still gets his wife and there’s love potion for everyone - applause too”

Bayerische Staatszeitung

 

“In the past, people in love carved letters into trees; today they type emoticons into their phones. Which is more promising for a lasting relationship? Apparently the old-fashioned variant, at least according to director Ilaria Lanzino. The audience agreed.”

BR-Klassik

 

“In this case, director Ilaria Lanzino, who already proved with Telemann’s Pimpinone in Nuremberg that she understands the intelligent and lustfully comedic representation and interpretation of older gender roles, Ilaria Lanzino has thus decided to first tell the story of Adina and Nemorino in fast-forward, before in a continuation the planned wedding of the two is interrupted because a second Dulcamara - aptly called ‘Dulcamara 2.0’ - introduces the villagers and guest Belcore to the digital world of partner mediation. This is based on the observation that Nemorino, as a romantic lover, has different ideals than his beloved, who relies on changing partners: just like all those who fight in a competition for sexual acceptance on various antisocial platforms. The astonishing thing about this idea is: It works.”

Der Opernfreund

 

“Hearts in Dating Frenzy.

PREMIERE Donizetti’s ‘The Elixir of Love’ takes meeting via social media to task in the opera house (…)

The translation of the love potion motif with its auto-suggestive seductive power into the mobile phone illusion works astonishingly well. (…) The direction has shown surprising ideas. (…) Great applause in the opera house.”

Nürnberger Kurier

 

“The performance was sold out and has the makings of becoming a real long-running hit. The predominantly young audience was enthusiastic and gave long applause. Sometimes one can only shudder at the behavior of the villagers, how strongly social networks now dominate reality and influence people’s behavior. Mobile phones are never seen in the production; the villagers swipe in the air in front of them on imaginary screens. The device is not the problem, but the network behind it. Actually a comic opera, the whole thing, but in places one doesn’t feel like laughing at all anymore. The singing and acting were very good, with Nemorino being the ideal role for Martin Platz. Andromahi Raptis ignites a coloratura firework and fully exploits her possibilities, especially towards the end. Francesco Sergio Fundarò was a new conductor at the podium for me, who drives the opera forward with great tempo. The production is a great coup by the Italian Ilaria Lanzino. There’s always movement involved in the chorus scenes and dull standing around is not possible. Like lemmings, the villagers move through the social network, quickly following this and that, briefly giving applause and then staging themselves again. I can only recommend the performance if one is not afraid of the mirror image held up to them. The seemingly happy ending in particular raises questions: Is Dulcamara 2.0 really defeated?”

Stefan Grysczyk, Opernblog​​​​​​​​​​​​​​​​