Director Amélie Niermeyer has bravely adopted a modern interpretation of Donizetti’s classic comedy opera in this new production by the Fondazione Teatro Donizetti, but at the end of the day, there’s just too much going on which becomes a distraction and disrupts the singing.
In Rome, the old and rich Don Pasquale da Corneto (Roberto de Candia) has decided to disinherit his nephew Ernesto (Javier Camarena), guilty of having refused the hand of a rich spinster because he is in love with Norina (Giulia Mazzola), a poor young widow. Despite his age, and in order to have an offspring, Don Pasquale therefore decides to marry and instructs Doctor Malatesta (Dario Sogos) to find him a wife. Malatesta, who is actually a close friend of Ernesto’s, extols the virtues of his ‘sister’ Sofronia, who is not only beautiful but also a model of domestic virtues and feminine modesty.
Don Pasquale is so won over by the shy and blushing young lady that, with the help of Malatesta’s cousin (Fulvio Valenti) pretending to be a notary, the marriage contract is soon drawn up, but when the wedding is over, another side of Sofronia comes to the fore and the boot is very much on the other foot: can Don Pasquale get out of his predicament? Can Ernesto return to his rightful place as the heir? And where has the beautiful and witty Norina disappeared to?
The staging by Opéra de Dijon has set the piece very much in the here and now with Marisa-Alice Bahra’s design very much presenting as The Only Way is Bergamo. Taking advantage of the turntable stage, Don Pasquale’s revolving house transports us from gloss interior to outside pool, from driveway complete with car, to darkened side alley. All very clever but I’m not sure it’s entirely necessary and it’s clear – certainly in the opening two acts before the interval – that some of the cast are being sidelined and sidetracked by it which is a shame because at the heart of the piece is a funny and moral story and I quite like the idea of giving it some modern relevance.
Sogos is in good voice throughout and perfects the charm and cheek of his character whilst Mazzola gives a strong performance in her dual role, reflecting the changing persona and the developing role of Sofronia, and her vocal range was impressive. Both Sogos and Mazzola are young stars of Bottega Donizetti, and they certainly shone enough to hint at bright futures.
Camarena and de Candia get too caught up in the on-stage drama of set and props and in the first half their vocals fall short, very much in contract to both Sogos and Mazzola. Pleasingly, post-interval, both stepped up to ensure a more resounding finish was achieved, although I am still trying to make sense of the chorus dressed as quasi removal men/chickens and the unexpected appearance of a pink elephant: perhaps in the context of the staging, a white elephant may have been more in order.
Performers Alessandra Bareggi, Hillel Pearlman, and Vittorio Pissacroia provide sterling support with some good choreography from Dustin Klein.
Conductor Iván López-Reynoso leads a comfortable and composed performance from the Orchestra Donizetti Opera, ably supported by Coro dell’Accademia Teatro alla Scala under the direction of choirmaster Salvo Sgrò, in particular during Act III when they really come to the fore.
A special mention to trumpeter Massimo Longhi who provides some excellent in character on-stage solos during Act III that I particularly enjoyed.
Performed in Italian with both Italian and English surtitles, Don Pasquale is one of three operas performing as part of the Donizetti Opera Festival in Bergamo from 14th November through to 1st December. Further details https://www.donizetti.org/en/festival-donizetti/donizetti-opera-2024/
Reviewer: Mark Davoren
Reviewed: 22nd November 2024
North West End UK Rating: