Opera plots can often strain credulity; Giacomo Puccini’s Madama Butterfly, on the other hand, cuts close to the bone. The story—of an American naval officer who woos, marries and deserts a young Japanese girl—matters: it is a tightly-constructed narrative and attempts to reframe it, reposition it in another time or place, can be fraught.

While hardly a rarity, Gaetano Donizetti’s comic opera L’Elisir d’Amore (The Elixir of Love) doesn’t usually rank in popularity with the likes of Aida, La Bohème or Carmen. But after a performance such as that which acted as the curtain-raiser for the Macau International Music Festival, it can be hard to understand why not. Effortlessly enjoyable, the work also contains passages of aching beauty and contains more insights into human nature than its rom-com surface would let on.