Donizetti’s 1810 comic opera didn’t reinvent the narrative wheel when it was invented. One of many reworkings of the commedia dell’arte, Giovanni Ruffini’s libretto sees a greedy tyrant humbled by the machinations of a clever servant and the mischievous beauty who wishes to marry Pasquale’s son.
Directors Barbe & Doucet imagine Don Pasquale (David Stout) as the somewhat decrepit owner of a run-down Roman boarding house in the swinging 60’s. A comic-strip, projected during the overture invents a quasi-tragic history of cat-fancying and allergies to explain Pasquale’s mean-spirited attitude. Accordingly, his grim little apartment abounds with green cats, phantoms of this forbidden love.
Wallowing in self-pity, the septuagenarian miser decides to spite his nephew Ernesto (Filipe Manu) by marrying, thus denying the handsome young man an inheritance. As luck would have it, Pasquale’s doctor Malatesta ( Josef Jeongmeen Ahn) has just the bride for the job. Suffice to say there’s much more to the timid young Norina (Stacey Alleaume), than our crotchety slumlord bargains for.
“Accordingly, his grim little apartment abounds with green cats, phantoms of this forbidden love.”
The cast is impressive in the main, particularly Manu and Alleaume who manage some spine-tingling moments of sumptuous bel-canto lyricism. Stout, if sometimes a little submerged by the orchestra, lends excellent comic timing to the titular part, while Jeongmeen Ahn’s harmonic instinct makes him a superb duetist. Given the opera centres so strongly upon these four, it’s as well that the performers share a winning and lively chemistry. Conversely, whilst in fine fettle as ever, The Chorus of Scottish Opera are deprived of demonstrating their full sonic prowess by a book which concentrates intently upon the domestic misadventures of its principals.
Further, green cats or not, there’s no escaping the cruelty at the heart of the opera. Pasquale is more of a grump than a villain, and our briefly ‘star-crossed’ lovers are always free to get hitched if only they relinquish their claims to his fortune. In so neutering Pasquale’s Commedia counterpart Pantalone’s vicious, lecherous tendencies, he actually comes across as a little vulnerable. Accordingly, the audience tends to laugh more at the inserted comedy, be it capering servants, or serenade-intolerant, show-wielding neighbours than in the central drama.
The score is still surpassingly pretty throughout, and rises to thrilling heights during Alleaume’s sparkling and impish ‘So anch’io la virtù magica‘ and once more when she and Manu combine for a gently lilting ‘Tornami a dir che m’ami‘. It may not be Donizetti’s most memorable work, but there’s no arguing with the hairs rising on the back of one’s arms.
“The cast is impressive in the main, particularly Manu and Alleaume who manage some spine-tingling moments of sumptuous bel-canto lyricism.”
However, despite Barbe & Doucet’s fascinating stage complete with a surprising upper story, and a raft of strong physical-comedy turns from supporting cast members, the libretto just isn’t that interesting. There are no surprises along the way and no danger of the youthful ‘heroes’ failing to succeed in their rather simple plot.
So whilst Scottish Opera has once again commissioned a sumptuous production, and populated it with superb performers, the lack of a truly engaging central story makes this a show I’d only particularly recommend to Donizetti enthusiasts.
Featured Image: (credit here)
Show Details
Venue: Festival Theatre, Edinburgh
Dates: 8th – 16th November, 2024
Admission: From £23.75
Showtimes:
- 15:00
- 19:15
Age Recommendation: Parental Discretion
Running Time: 2 hours and 20 minutes (inc 20-minute interval)
Accessibility
- Wheelchair Accessible Venue
- Wheelchair Accessible Toilet
- Audio Enhancement System
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This review of Don Pasquale as a piece of theatre, is for me, absolutely spot on.
I saw the performance in Aberdeen this evening.
At the interval, I found myself not greatly caring how things turned out for anyone but the duet at the start of the second half changed that. So did all the duets thereafter, and their orchestral backing. The chorus at long last got something really entertaining to do, and did it well.
Everyone I spoke to had enjoyed the second half so much more than the first. The loud, prolonged cheering of the main singers at the end was well deserved. They made the very best of the material that the second half offered them. So did the orchestra.