L'elisir d'amore

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Work data
Title: The love potion
Original title: L'elisir d'amore
Title page of the libretto, Milan 1832

Title page of the libretto, Milan 1832

Shape: Melodramma giocoso in two acts
Original language: Italian
Music: Gaetano Donizetti
Libretto : Felice Romani
Literary source: Eugène Scribe : Le philtre
Premiere: May 12, 1832
Place of premiere: Teatro della Canobbiana , Milan
Playing time: approx. 2 ¼ hours
Place and time of the action: a village in the Basque Country , around 1815
people
  • Adina , rich and capricious tenant ( soprano )
  • Nemorino , young simple farmer, in love with Adina ( tenor )
  • Belcore , sergeant at the garrison in the village ( baritone )
  • Doctor Dulcamara , traveling doctor ( Bassbuffo )
  • Gianetta , peasant girl (soprano)
  • A soldier ( baritone )
  • A notary (silent role)
  • two servants of Dulcamara (silent roles)
  • a Moor, Dulcamara's servant (silent role)
  • Peasants, peasant women, soldiers ( choir )
  • Regimental blowers (extras)

L'elisir d'amore ( German  Der Liebestrank ) is an opera buffa (original name: "melodramma giocoso") in two acts by Gaetano Donizetti with a libretto by Felice Romani based on Eugène Scribes Libretto for Daniel-François-Esprit Auber's opera Le philtre ( 1831). It was premiered on May 12, 1832 at the Teatro della Canobbiana in Milan .

action

first act

First picture: Entrance to a good

The simple-minded and shy farmer Nemorino is in love with the beautiful and rich landowner Adina, who, however, does not want to know anything about him. During a break from work, Adina reads the story of Tristan and Isolde from a book to the country people, who are connected by a love potion . Nemorino admires the reading Adina and is impressed by the story. Soldiers come to the village; the cocky Sergeant Belcore courted Adina and made a marriage proposal; she is flattered, but initially dismisses Belcore. Alerted by Belcore's request, Nemorino now confesses his love for Adina, but she laughs at him.

Second picture: village square

The quack Dulcamara moves into the village with pomp and trumpet sound and praises the farmers for his incredibly cheap remedies for all kinds of ailments. Nemorino asks Dulcamara whether he doesn't have a love potion among his miracle drugs that he could use to win Adina's love. Dulcamara seizes the opportunity to cheat the simpleton and sells Nemorino a bottle of wine as a love potion. However, the effect would only appear in 24 hours - so only when Dulcamara is long over the mountains. When Adina comes back, Nemorino is in anticipation of the effects of the love potion as if he has changed: he assures her that within a day he will be rid of his lovesickness, which then annoys Adina. When Belcore arrives, she explains that she wants to marry him in six days, which Nemorino can only laugh about. The message was brought to Belcore that his regiment would have to leave the next morning. Adina is then ready to marry Belcore on the same day. Nemorino is desperate because the love potion cannot work by then. He implores Adina to postpone the wedding with Belcore for at least one day because otherwise she would have to regret it. Nobody understands the strange behavior of Nemorino and so Adina, Belcore and the farmers ridicule him as a fool.

Second act

Nemorino enjoys the supposed effect of the love potion, scene from a production by Brown Opera Productions, spring 2009

First picture: Inside Adina's estate

The wedding party meets in Adina's estate (insert: Dulcamara sings the song of the skipper and the senator with Adina). In order to humiliate Nemorino, Adina does not want to sign the marriage contract until Nemorino signs as a witness. Meanwhile, Dulcamara demands another love potion from Dulcamara, one that works immediately. However, Nemorino now has no more money and the charlatan does not want to give him anything without payment. In complete desperation, Nemorino turns to his rival Belcore: He wants to be recruited by him as a soldier just to be able to buy the love potion for the cash. Belcore is pleased that he is finally getting rid of his rival and that he is getting a new recruit at the same time. He gives Nemorino 20 scudi so that he can pay Dulcamara.

Second picture: In the courtyard of the estate

Meanwhile, at the estate, it is known that Nemorino's uncle has died and that he is leaving a considerable fortune. The girls are now swarming around Nemorino, who does not yet know anything about the inheritance and who therefore attributes his sudden popularity with young women to the effects of the love potion. Dulcamara, who witnessed the scene, now believes in the effects of his potion himself and recommends it to Adina, who believes he can see signs of lovesickness. So Adina now also learns about the love potion and that Nemorino has sold himself to the soldiers because of it; she is moved by the depth of Nemorino's feelings. However, she rejects the love potion offered by Dulcamara.

Nemorino believes he has finally seen the first signs of affection in Adina too. Meanwhile, Adina has bought back the contract from Belcore and finally confesses her love to Nemorino. Nemorino now also learns of his inheritance and so Dulcamara is sure that his drink can bring not only love but also wealth. Everyone is happy and happy - except for Belcore, who wishes Dulcamara break his neck.

Emergence

In 1830 Donizetti finally achieved his breakthrough with Anna Bolena , his 32nd opera. A year earlier, Rossini, who was only five years older than him, had prematurely ended his career as an opera composer with William Tell , so that Donizetti and Vincenzo Bellini , who had already established themselves in 1827 with his opera Il pirata , were now Italy's leading opera composers. In 1832, Donizetti wanted to return to the most important opera house in Italy, La Scala in Milan , after almost ten years . His opera Ugo, conte di Parigi , performed there on March 13, 1832 (and now forgotten) , was a failure - despite a star ensemble with Giuditta Pasta , Giulia Grisi and Domenico Donzelli (the world premiere of Bellini's Norma was also a few weeks earlier with the same cast failed). After five performances, Ugo was removed from the program and replaced by Norma , of all things, by a work by rival Bellini, whom Scala trusted more than Donizetti's Ugo , despite the fiasco at the premiere .

The offer of Alessandro Linaris, the impresario of the Milanese Teatro alla Canobbiana , to fill in for another composer and to bring out a new opera in the spring of 1832 was therefore a good opportunity for Donizetti to immediately undo the failure at Scala (the suggestion of an existing one To revise opera, Donizetti is said to have rejected). The poet Felice Romani, with whom Donizetti had already worked on Anna Bolena and most recently again on the failed Ugo , now wrote the text for the new opera entitled L'elisir d'amore , with the libretto of Eugène Scribe for Daniel-François - Esprit used Auber's opera, Le philtre , which premiered in Paris in 1831. This libretto was based in turn on the piece Il filtro by Silvio Malaperta; So on an Italian template. Romani translated the text Scribes and adapted it to Italian conditions. Most of the numbers of L'elisir d'amore go back to Le Philtre : “Almost every situation has its counterpart in the French model, but Romani sharpens and sharpens it one moment after the other.” One of the newly recorded pieces is also the most famous number the opera Una furtiva lacrima , which Donizetti had to push through against Romani.

The time until the premiere in mid-May was extremely tight, even for a fast-paced composer like Donizetti, who had already composed 36 operas within 15 years. Since Romani took longer than planned to complete the libretto (it was still not finished on April 24th), Donizetti only had three weeks left before rehearsals began. Like Rossini's Il barbiere di Siviglia , L'elisir d'amore is therefore a prime example of the quick throw of a composer's genius. As a prolific writer, Donizetti also worked very economically and always had a supply of drafts and sketches from other opera projects that he could fall back on. At least he succeeded in completing a new full-length opera with 28 numbers in an extremely short time; L'elisir d'amore is therefore not a short opera, the score is over 600 pages. But the available time was not Donizetti's only problem, because this time as an ensemble with the singers Sabine Heinefetter (Adina), Gianbattista Genero (Nemorino), Henri-Bernard Dabadie (Belcore) and Giuseppe Frezzolini (Dulcamara), he was not the same as at Scala die first guard available. In a letter Donizetti expressed himself quite disparagingly about his singers: "We have a German prima donna, a stuttering tenor, a buffo with a goat voice and a French bass that is no good." After all, Dabadie already knew his way around the subject, because he had also sung in Aubers Le Philtre .

Performance history

Transfer of a performance of the Schenk production by the Vienna State Opera to Rathausplatz in Vienna, 2005

Despite the adversity, the premiere of L'elisir d'amore on May 12, 1832, became one of the greatest successes in Donizetti's career. The opera was "lifted to heaven" by contemporary critics. Donizetti himself received the surprising success with mixed feelings: he would have preferred to succeed with a "serious" or historical material. In the current season, the opera had an unusually high number of 33 repetitions. If you believe the memoirs of the contemporary witness Hector Berlioz , you have to imagine these performances something like this:

“On arrival, out of a sense of duty, I forced myself to hear the latest opera. Donizetti's L'elisir d'amore was given at Cannobiana. [...] I found the theater full of people talking with their backs to the stage at a normal volume. Undeterred, the singers gesticulated and roared their hearts out in the pure spirit of competition. At least that's what I concluded from the open mouths; the noise of the audience was so great that you couldn't hear anything except the bass drum. The people played, had dinner in their boxes, etc. Consequently, as I didn't expect to hear anything about the new score, I left. "

The opera quickly spread to other stages in Italy, and from 1834 also throughout Europe. In the same year the first performance in German took place in Berlin. L'elisir d'amore was first played at La Scala in Milan in 1835, with Maria Malibran as Adina (one of her last roles) and again Giuseppe Frezzolini as Dulcamara, which couldn't have been so bad after all. Between 1838 and 1848, L'elisir d'amore was the most widely performed opera in Italy.

Like few of Donizetti's total of 71 operas, L'elisir d'amore can be traced back to an unbroken performance tradition to this day; the work was also played in times when Italian opera was generally less well respected by musicians and professionals. Since the renaissance of bel canto and Italian opera in general, from the 1950s, opera has been part of the repertoire of all major opera houses. L'elisir d'amore is one of the twelve most performed operas today, Operabase recorded 512 performances and 25 premieres worldwide for the 2011/12 and 2012/13 seasons, most performances took place in London (23), Vienna (19), Dresden ( 19), Prague (18) and New York (18). Since L'elisir d'amore is demanding, but does not place excessive demands on the singers, this opera is often played in smaller houses, most recently in Hof or Osnabrück, and also in lesser-known opera houses in Austin, Baku and Salt Lake City or Shanghai.

Transfer of a performance by the Vienna State Opera to Rathausplatz in Vienna - Rolando Villazón as Nemorino, 2005

With such a long-running hit, it is inevitable that some productions have been on the repertoire for decades, for example in Vienna, Hamburg and New York. In line with the taste of the public at the time, these productions are strongly historicizing interpretations that seem “antediluvian conservative” today, but which also make clear how the view of opera has changed over the past forty years. More recent productions of L'elisir d'amore , on the other hand, almost always include a relocation of the place and time of the action in order to give the “dusty, from today's perspective all too homely libretto” a level beyond the conventional mixture of rural idyll and soldier romanticism. Examples of this are the productions by Brian Large , who had the opera played in 1996 at a rural fair in the 1920s (available on DVD), by Damiano Michieletto in Graz, who put the opera on a beach with a “beach bar, countless umbrellas and lively frolic Bathers ”or by Vera Nemirova in Bonn (2010), who positioned the opera in a wellness hotel; Christian Tschirner in Dortmund (2013) chose a warehouse as the location and Andreas Baesler chose a sanatorium in Essen in 2011; In his directorial debut in Germany in 2012 ( Festspielhaus Baden-Baden ), Rolando Villazón relocated the opera to the set of the recordings for a fictional western film, with Nemorino as an extra and Adina as a film star he adored. Productions like this are essentially limited to a change of location and costumes, new perspectives or even a reinterpretation are usually not intended: L'elisir d'amore is not a typical theme in directorial theater . The production by David Bösch in Munich in 2009 goes the furthest here, developing a contrast between everyday desolation and illusion in a timeless ambience and with explicit reference to the work of Federico Fellini .

classification

Giuseppe Frezzolini (1789–1861) as Dulcamara with the wonder drug

genus

L'elisir d'amore is often referred to as opera buffa , Donizetti called it “Opera Comica” in his score, but it is also referred to as “Melodramma (giocoso)”. Alberto Zedda , editor of a critical edition of the work, describes it as "commedia larmoyant ". In this case, the different generic terms are not a bell jingling, but refer to the ambivalent character of this opera. "Here the ground is stripped of any untroubled Buffa tradition, here two figures suddenly tear their chests open and show themselves as broken characters, while everyone else greets them from the plastered world of the commedia dell'arte." The work is not just the exuberant one , happy comedy (as it is often staged) - there is too much talk of death for that: “Because [Nemorinos] longing for erotic fulfillment is not satisfied, he consumes himself in lovesickness and drives toward death. He is thus in the usual dichotomy of the characters in Donizetti's Seria opera world: the conflict between hunger for love (a form of lust for life) and thirst for death ”. The buffo elements of the opera are concentrated on the characters of Belcore and Dulacamara, but they do not constitute the core of the opera. However, the figure constellation typical of a “ semiseria ” is also missing .

The closeness of L'elisir d'amore to the opera seria was already noted by the critic of the premiere. Francesco Pezzi wrote in 1832 in the Gazzetta privilegiata di Milano : “The musical style of this score is lively, brilliant, true to the Buffo genre. The transitions between buffo and serio take place with surprising shades and the feelings are treated with the musical passion for which Anna Bolena's composer is famous. ”Zedda sees the“ mixture of genres ”as the recipe for success of this opera.

Casey Candebat as Nemorino in a 2009 Loyola University New Orleans performance

The roles of Belcore and especially those of Dulcamara are, as is usual in buffo opera, heavily parodic and accordingly popular with comedic baritones. The two main roles, however, are different: Adina is only slightly caricatured as a flirtatious, snooty, and sometimes malicious landowner, while Nemorino is not at all, although for example his simplicity (Nemorino means “little nobody”) and lack of education (he can obviously neither write nor read) would have offered a typical buffo opera corresponding possibilities. Instead, Donizetti wrote a largely serious part for Nemorino, in which pain and despair predominate, and which is therefore close to Donizetti's romantic Seria heroes or early Verdi figures such as Ernani or Jacopo Foscari. This even applies to his two duets with the Buffos, in the first act ( Voglio dire, lo stupendo elisir ) and in the second act ( Venti scudi ); Parodic elements can be found here, if at all, in the baritone role.

The special character of the role is particularly evident in the opera's most famous number, the romance Una furtiva lacrima . Nemorino sings it at the moment when he first recognizes affection from Adina, but there is no jubilation aria in C or D major, but a melancholy romance in B minor, in which death is again mentioned: “… si può morir d'amor ". She expresses the “wish for death” in the moment of love happiness “unmistakably [and] inspired the composer to a shocking outburst of euphoria and melody.” - “The stunned pain has seldom become as perfect a melody as in Nemorino's romance, horror In front of one's own arrogance, it is never so compulsorily placed in a modeled caesura of the context as in the periphery of the trio from Act 1. ”Some productions see the serious character of the main character in the midst of a sometimes exuberant buffalo spectacle as a lack of the libretto and therefore prefer to let Nemorino appear as a grimace-cutting village idiot.

Donizetti and Bellini

L'elisir d'amore is closely related to Bellini's opera La sonnambula (1831), which premiered a year earlier, and in a certain sense represents a competing project by Donizetti. This opera too (like Rossini's Semiseria La gazza ladra from 1817) is set “in a rural setting -small bourgeois milieu ”, in both operas the protagonists are involved in serious conflicts, but both operas end with the usual“ lieto fine ”(good ending) for the genre, so there are no operatic corpses. Both works thus adhere to the world view required by the class clause , according to which “tragic fates” are only possible for people “of class”: “... before Pietro Mascagni's Cavalleria rusticana (1890) there was no peasant tragedy in the Italian opera theater. “The music of Donizetti and Bellini already goes beyond this point of view; both operas are thus close to Mozart's Da Ponte operas . From the Opera Buffa, however, La sonnambula is even further removed than L'elisir d'amore , because there the buffo roles (Belcore, Dulcamara) are completely absent, here the action “gains its romantic life of its own from the contrast with the two buffalo roles ... "And even here Donizetti goes to the limits: In Dulcamara's appearances, especially in the performance aria" Udite, udite o rustici ", he expands the repertoire of his comedic possibilities by" breaking out of the melodic line, the sudden acceleration of the tempi, the opposing attitudes in contrasting motifs, the rousing or sensational movement in the final parts of individual numbers ... "

music

Critical edition

In accordance with contemporary performance practice, the singers often adapted their roles to their own possibilities and personal taste. Such unauthorized changes seeped into the score over time. Thus, nuanced instructions were underlined, overemphasized and falsified, “phrasing and articulations were changed, legati were replaced by staccatos and vice versa. In the vocal parts in particular, the numerous, very careful hints on interpretation have been cut down. ”These changes changed the“ tonal climate of the opera ”and made it appear more striking and superficial.

These changes were later regarded as immovable under a changed performance practice, which now tended to canonize the (mostly but not yet critically edited) scores, so that the falsifications became the standard. In 1979 Alberto Zedda corrected the score of L'elisir d'amore in a critical edition, correcting spelling mistakes as well as "parasites", additions and insertions. Its edition also revealed changes that Donizetti himself had probably made in the fall of 1843, but which had not been included in the standard score. These include, above all, a new version of the finale, in which Adina is now given more weight, as well as not insignificant changes to the romance Una furtiva lagrima , which Donizetti also transposed to G minor. The CD recording by Erato under Marcello Viotti is based on a compromise between the familiar standard and the additions from 1843.

instrumentation

According to Alberto Zedda, the orchestration of L'elisir d'amore suffers more than any other from the tonal weight of the instruments used by orchestras today, which “actually require the use of old instruments, at least as far as brass is concerned, so that the Voices are not covered. "

Piper's Encyclopedia of Music Theater names the following cast:

Music numbers

first act

  • Preludio and choir: Bel conforto al mietitore (Giannetta, choir)
  • Cavatine: Quanto è bella, quanto è cara (Nemorino, Giannetta, choir)
  • Scene and Cavatine: Benedette queste carte… Della crudele Isotta (Adina, Giannetta, Nemorino, choir)
  • Marcials
    • Cavatine: Come Paride vezzoso (Belcore, Adina, Giannetta, Nemorino, choir)
    • Recitative: Intanto, o mia ragazza (Belcore, Adina, choir)
  • Scene and duet: Una parola o Adina… Chiedi all'aura lusinghiera (Nemorino, Adina)
  • Choir: Che vuol dire codesta sonata? (Choir)
  • Cavatine: Udite, udite, o rustici (Dulcamara, choir)
  • Recitative and Duet: Ardir! Ha forse il cielo mandato… Voglio dire, lo stupendo elisir (Nemorino, Dulcamara)
  • Finale I.
    • Recitative: Caro elisir! be million! (Nemorino)
    • Scene and duet: Lallarallara… Esulti pur la barbara (Nemorino, Adina)
    • Trio : Tran, tran, tran. In guerra ed in amor (Belcore, Adina, Nemorino)
    • Scene and quartet: Signor sargente, di voi richiede la vostra gente… Adina credimi (Giannetta, Belcore, Nemorino, Adina, choir)

Second act

  • Choir: Cantiamo, facciam brindisi (Belcore, Dulcamara, Giannetta, Adina, choir)
  • Recitative: Poiché cantar vi alletta (Dulcamara, Belcore, Giannetta, choir)
  • Barcarole: Io son ricco e tu sei bella (Dulcamara, Adina, choir)
  • Recitative: Silenzio! È qua il notaro (Belcore, Dulcamara, Adina, Giannetta, choir)
  • Recitative: Le haben nuziali (Dulcamara, Nemorino)
  • Scene and duet: La donna è un animale stravagante… Venti scudi (Belcore, Nemorino)
  • Choir: Saria possibile (choir)
  • Quartet: Dell'elisir mirabile (Nemorino, Giannetta, Adina, Dulcamara, choir)
  • Recitative and duet: Come sen va contento… Quanto amore (Adina, Dulcamara)
  • Romance: Una furtiva lagrima (Nemorino)
  • Recitative: Eccola. Oh! qual le accresce beltà (Nemorino, Adina)
  • Aria (duet): Prendi, per me sei libero (Adina, Nemorino)
  • Finale II
    • Recitative: Alto! Fronts! (Belcore, Adina, Dulcamara, Nemorino, Giannetta, choir)
    • Aria: Ei corregge ogni difetto (Dulcamara, Adina, Nemorino, Belcore, choir)

Romance of the Nemorino

Una furtiva lagrima
Enrico Caruso , 1911
Una furtiva lagrima
Italian German version of the text, Berlin 1834

Una furtiva lagrima
negli occhi suoi spuntò:
source festose giovani
invidiar sembrò.
Che più cercando io vo?
Mummy! Sì, m'ama, lo vedo. Lo vedo.
Un solo istante i palpiti
del suo bel cor sentir!
I miei sospir, confondere
per poco a 'suoi sospir!
I palpiti, i palpiti sentir,
confondere i miei coi suoi sospir…
Cielo! Si può morir!
Di più non chiedo, non chiedo.
Ah, cielo! Si può! Si, può morir!
Di più non chiedo, non chiedo.
Si può morir! Si può morir d'amor.


A sigh came to me from her heart ,
And when the girls were joking,
her chest heaved heavily!
What more does my heart want?
Love, she feels your power,
yes, your power!
If her eye
hung only once Lovingly on my gaze;
If only once would you give me your mouth back
The word of love.
Oh, if she would give
back the sweet confession of love with a languid look !
Then let death threaten me,
oh, I received the best reward!

Discography (selection)

literature

Web links

Commons : L'elisir d'amore  - collection of images, videos and audio files

Individual evidence

  1. ^ Rudolf Kloiber , Wulf Konold , Robert Maschka: Handbook of the Opera. 9th, expanded, revised edition 2002. Deutscher Taschenbuch Verlag / Bärenreiter, ISBN 3-423-32526-7 , p. 133.
  2. ^ Herbert Weinstock: Donizetti. Edition Kunzelmann, Adliswil, 1983, p. 77.
  3. ^ Le Philtre (Daniel-François-Esprit Auber) in the Corago information system of the University of Bologna .
  4. ^ William Weaver: Dr. Donizetti's magic recipe. In: L'elisir d'amore. Booklet for the CD. Decca 1985, p. 31 f.
  5. ^ William Weaver: Dr. Donizetti's magic recipe. In: L'elisir d'amore. Booklet for the CD. Decca 1985, p. 32.
  6. ↑ a b c d e f g h Norbert Miller : L'elisir d'amore. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , pp. 747-751.
  7. ↑ Thomas May calls him a "hyper-productive workaholic".
    Thomas May: The Elixir of Love: Donizetti's Altered States, essay for the San Francisco Opera (PDF) ( Memento of July 2, 2011 in the Internet Archive ).
  8. ↑ Quoted from William Weaver: Dr. Donizetti's magic recipe. In: L'elisir d'amore. Booklet for the CD. Decca 1985, p. 31.
  9. ^ Robert Steiner-Isenmann: Gaetano Donizetti. His life and his operas. Hallwag, Bern 1982, p. 140.
  10. ↑ Quoted from William Weaver: Dr. Donizetti's magic recipe. In: L'elisir d'amore. Booklet for the CD. Decca 1985, p. 30.
  11. ^ Johannes Saltzwedel: Gaetano Donizetti: "L'Elisir d'Amore". In: Der Spiegel . October 30, 2006, accessed December 7, 2015.
  12. ↑ Alexander Dick: The Law of Slapstick. In: Badische Zeitung . May 30, 2012, accessed September 15, 2013.
  13. ↑ Karin Zehetleitner: Colorful turmoil in the Graz Opera. In: Small newspaper . November 18, 2012, accessed September 15, 2013.
  14. ↑ Stefan Schmöe: In the fitness mania. In: Online Musik Magazin, accessed on September 15, 2013.
  15. ↑ Christoph Broermann: Luckily got rich. Review of the Dortmund premiere on April 7, 2013 ( Memento from September 21, 2013 in the Internet Archive ). In: Opera Network.
  16. ↑ Christoph Schulte in the forest: Young happiness in the sanatorium. Review of the Essen performance on July 2, 2011 ( Memento from September 21, 2013 in the Internet Archive ). In: Opera Network.
  17. ↑ Manuael Brug: bel canto Bonanza in the wild Baden-Baden. In: The world . May 30, 2012, accessed September 15, 2013.
  18. ↑ Better kitsch than cynicism, A conversation with David Bötsch, Patrick Bannwart and Falko Herold . In: L'elisir d'amore. Program of the Bavarian State Opera, Munich 2009, p. 15 ff.
  19. ^ Alberto Zedda, L'elisir d'amore, supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 8.
  20. ↑ a b Christine Lemke-Matwey: Review of a production by the Berlin State Opera ( Memento from October 6, 2013 in the web archive archive.today ). In: Der Tagesspiegel . October 14, 2002.
  21. ^ Robert Steiner-Isenmann: Gaetano Donizetti. His life and his operas. Bern: Hallwag 1982, p. 140.
  22. ^ Alberto Zedda, L'elisir d'amore, supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 18.
  23. ↑ Quoted from William Weaver: Dr. Donizetti's magic recipe ; in: L'elisir d'amore , booklet for the CD, Decca 1985, p. 33.
  24. ^ Alberto Zedda, L'elisir d'amore, supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 18.
  25. ↑ Christiane Frobenius: The love potion. In: Supplement to the CD recording by Decca under Evelino Pidó, 1996, p. 27.
  26. ^ Alberto Zedda, L'elisir d'amore, supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 18.
  27. ^ Robert Steiner-Isenmann: Gaetano Donizetti. His life and his operas. Bern: Hallwag 1982, p. 141.
  28. ↑ a b Friedrich Lippmann: La sonnambula. In: Piper's Enzyklopädie des Musiktheater , Munich, Zurich 1986, Volume 1, p. 248.
  29. ^ Alberto Zedda: L'elisir d'amore. Supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 19 f.
  30. ^ Alberto Zedda: L'elisir d'amore. Supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 20 f.
  31. ^ Alberto Zedda: L'elisir d'amore. Supplement to the CD recording by Erato under Marcello Viotti, 1992; P. 19.
  32. ↑ The love potion. Libretto of the first German performance. Berlin, Königstädtisches Theater, June 26, 1834 ( online ).