In Giovanni Battista Pergolesi’s 1733 comic opera La Serva Padrona (“The Maid Made Mistress”), a maid sets her sights on her boss, and through a combination of flirtatious behavior and well-meant duplicity, convinces him that he has really loved her all along. The work is small and intimate with a deceptive simplicity that belies the sophistication of the music, allowing a fusion between comic theatre and comic opera.

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.