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| L'Elisir d'Amore |
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| Nemorino |
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| Lyric tenor role A young peasant in love with Adina. |
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| SFO Nemorino History |
| Aria Database for Nemorino |
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| Tagliavini, received the most prolonged ovation of all on the night of October 11 at the only performance of Elixir that year. After �una furtive lagrima� the applause was so loud and persistent that the rule was broken that no encore should be done./ pg 104 - 1922-1978 SFO-Bloofield |
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| Practiced hands know to look forward to "Una furtiva lagrima," the lyrical showpiece that Nemorino sings shortly before the final curtain, and Vargas' rendition didn't disappoint - it was marked by lustrous sound and generous, arching phrases, as well as a dazzlingly long-held approach to the final cadence.
But he staked his claim to greatness right from the start, bringing out the unquenchable ardor of the opening "Quanto � bella, quanto � cara" and lavishing sumptuous lyricism on the two Act 1 duets with Adina. And although Vargas can sometimes be a little stiff onstage, he turned that quality to winning comic effect./ Review |
| Sacca, who was a fair Tamino in last fall's "Zauberflote," evidently finds the shoals of Donizetti more congenial than the peaks of Mozart. The Italian tenor's instrument is still a shade too light for the War Memorial. Early on, in "Quanto e bella," he tested for volume and came up with a case of constricted high notes. Most of the time, Sacca offered elegant vocalism and a wonderfully self-deprecating impersonation. "Una furtiva lagrima" was phrased with a mastery of which only Italians (and an occasional Spaniard) are capable./ Review |
| Vargas announced his presence the moment he opened his mouth, revealing a strong, gorgeous lyric tone constructed of honey and an overriding tangerine warmth (forgive me if I wax poetic). He is Nemorino, of course, the sad pursuer of the popular girl, Adina, and this first introduction comes courtesy of his cavatina, "Quanto e bella!" in which he describes his sad plight./ Review |
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| Pavarotti, Hadley and Carreras |