‘L’Elisir d’Amore’ treats ears better than the eyes

The Metropolitan Opera opened the fall season by uncorking a new production of “L’Elisir d’Amore” that’s easy on the ears but otherwise generic.

The recipe for this take on Donizetti’s light romantic cocktail is: Blend four sterling lead voices with a stubbornly traditional staging; garnish with a top hat — just because.

Sporting that eye-catching headwear in this mid-1800s Italian love story is star Russian soprano Anna Netrebko, who opened the Met’s season last year in Donizetti’s drama “Anna Bolena.”

Swaggering now as Adina, a fetching and fickle landowner who toys with men’s affections, Netrebko plows into the role and brings gutsy confidence to her acting and vocals.

Even more impressive is Matthew Polenzani, an American tenor who plays Nemorino. He’s a mooning peasant besotted with Adina, who’s out of his league. Throughout the opera’s nearly three hours, Polenzani’s performance beams an irresistible mellow warmth. But late in the game, he ratchets everything up for Nemorino’s famous passionate showcase aria “Una furtiva lagrima.” Expect to swoon.

Any good romance needs conflict. Lending an able assist as Nemorino’s rival is Polish baritone Mariusz Kwiecien. His handsome good looks and robust strut and voice serve him well as the cocky soldier Belcore, who temporarily captures Adina’s attention.

Juicing up the show with a humorous turn and crisp vocals is Italian baritone Ambrogio Maestri as Doctor Dulcamara (r. , with Netrebko). He’s the charismatic quack Nemorino seeks out for a supposed love potion (it’s really just cheap Bordeaux).

All the excellent singing helped make up for a mundane production, as inspired and surprising as a box of wine. Since the opera’s story is so simple, it could use a jolt of inventiveness. Or two.

As it is, the production too often depends on straightforward scenery, representing a field or a town square. There’s no unusual perspective. It’s not a good sign when tall grass, moving across the stage, seems like a thrill.

The lack of compelling visuals is all the more striking considering the director is Barlett Sher, a seasoned pro who’s known for bringing distinction to everything he touches — from Broadway shows including “South Pacific” and “Awake & Sing!” to previous Met productions, such as “The Barber of Seville.” Too bad that he and his talented design team — Catherine Zuber (costumes), Michael Yeargan (sets) and Jennifer Tipton (lights) — didn’t take a few nips of some sort of an elixir for creative inspiration. “L’Elisir d’Amore” would have been all the more potent and lovable.