San Francisco Opera │ L’elisir d’amore │ Adina

Slovakian soprano Slávka Zámecníková made an absolutely mesmerizing US and role debuts as the precocious Adina who receives a valuable lesson in love. Dressed in Hopkins’ gloriously colorful attires, Zámecníková looked like a million bucks, as if she was an Italian socialite. Vocally, she was even better; her bright gleaming voice sounded round, lovely and expressive, and she effortlessly negotiated the many coloratura passages like a well-seasoned veteran. She imbued the role with a sense of confidence and tenderness, and she established good rapport with everyone on stage. Hopefully, she will come back to War Memorial stage as either Norina or Susanna, both of which she has performed in Vienna!

Adina, deftly sung by soprano Slávka Zámečniková, in her American debut. She sang with ease and flexible beauty of voice. This tessitura matched her physical dynamics on stage, springy and agile, centered as it was in the upper part of her body. She had much spring in her voice as in her steps. The emphasis was on her detachment rather than her emotional commitment, fitting with her characterization. Her voice didn’t let her down. As she cavorted around the stage with the hop, skip and jump of a butterfly, rejecting the affection of Nemorino cool and aloof, her voice led her exactly where she wanted to go.

Making her SF Opera and role debuts, Slávka Zámečniková was a winning Adina, here the wealthy and well-dressed owner of a namesake hotel. It’s a challenging role that until the end of the second and final act doesn’t allow a lyric coloratura soprano to show off her technique or revel in her high notes. But when the moment finally came, Zámečniková excelled. Her top note at the end was as spot on as it was sweet. If some exponents of the role have more successfully integrated strength and vulnerability into their sound, Zámečniková compensated with stage presence and acting. She also impressed with her ability to soften higher up in her range to produce sweet, resonant head tones without edge.

Zámecníková, a Slovakian artist whose career has been spent mainly in Germany and Austria, gave a masterful performance as Adina, lofting crystalline peals of melody and capturing the character’s blend of supercilious tenderness.

He was well matched with soprano Slávka Zámečníková, in her American debut. Her voice is elegant and very pretty, and she seems to sing without effort. Her Act II aria “Prendi, per me sei libero” was splendid.


Equally remarkable for her coloratura vocals, notable throughout the opera, Slovak soprano Slavka Zamecnikova, as the aloof Adina, impressed right away in the Act 1 duet with Pati, “Chiedi all’aura lusingghiera” (Ask the flattering aura why it flies without rest).

Making her commanding American and role debut as Adina is Vienna-based Slávka Zámečníková.  With a voice both silken and agile, the soprano fits well musically into the bel canto role, navigating both the luxuriant and staccato elements of the score.  She captures both the warmth and aloofness of the character.  In her lovely “Della crudele Isotto,” which tells of the use of a love potion in the legend of Tristan and Isolda, Nemorino comes to believe that such a potion might help him win Adina over.  Zámečníková also delights in her duet with Pati, “Chiedi all’aura lusinghiera,” showing great range and vocal beauty.

As Adina, soprano Slávka Zámečníková made the most of her United States debut. Her lyric voice, heftier than we usually hear from Adina, handled all the music – including the challenging coloratura in the finale – with ease.

As Adina, Slávka Zámečniková sang beautifully, in a voice full of strength and rich in color.