Gaetano Donizetti - L'elisir d'amore - "Tra-la-la-la" (Peter Dvorsky, Lucia Popp & Bernd Weikl)

In Italian opera the Act One Finale seems to be the most important part of the whole evening: something very important is bound to happen just before or during the finale, so the whole finale is usually either devoted to something crucial happening between the main characters, to characters reacting to the event or, in some cases, to both things at the same time. Moreover, the emotions usual run very high with lower voices snarling effectively, sopranos and tenors brandishing high Cs and coloratura roulandes, the chorus and comprimarios confused, at best. The First Act Finale to "L'elisir d'amore" really isn't s break of traditon but it can claim fully its' originality of form and of music :)!
Despite concert and recording practices, the present finale is actually formed out of three almost independent numbers (but they are connected into a cohesive whole): Adina's and Nemorino's second duet; the subsequent terzettino with Belcore and the finale proper (complete with the traditional "scene - andante - allegro" structure). The duettino starts after a short scene as Nemorino tries to make Adina believe that he is uninterested with her, while the latter is a bit shocked to see her faithful follower turn away from her. A classical contrasting succession of "andante - allegro" is made interesting by the fact that both movements use the same words to show the changing emotions of the characters: Adina is at first unable to understand the sudden change in Nemorino's behavior but in the allegro her heartache makes her want to hurt Nemorino as well; in the andante Nemorino is waiting to see the effects of the elixir, while in the allegro he is celebrating his "triumph" over the heart of his love. And these contrasts are shown through the use of the same words! Quite extraordinary!
The following little terzettino is actually a part of the "event" which instigates the finale: Adina, trying to find a way to hurt Nemorino, promises Belcore her hand in marriage the very same day. The final, brilliant allegro finds each of the characters experiencing very different emotions: Nemorino, not believing the possibility of Adina's marriage, laughs away; Belcore is outraged to see the "idiot" mocking him; while Adina laments the fact that Nemorino seems to be untouched by such a turn of events.
Peter Dvorsky, Lucia Popp and Bernd Weikl bring life to the characters' turmoils.

[@archiloque]

Dvorsky is excellent there ! I had no idea he had this kind of lightness and joy in his voice. thanks for this !

[@rossmcl177]

This is a really great recording - and you're right, the allegro that ends this clip is terrific - one of my favourite moments of all opera if it is done properly. I like the Pavarotti/Battle/Nucci recording also, but this is almost as good.

[@ippolitos22]

who is the tenor?