For a salutary lesson in why old men should not take young wives Don Pasquale is a master class of comic intrigue – delivered through Donizetti's dazzling musical score.
A manipulative doctor, love-lorn nephew, two-timing widow, and septuagenarian Don Pasquale – suffering palpitations of passion as he anticipates his bride-to-be, are all in this witty mix of marital mayhem.
Although toned down from previous versions this production, directed by Mariame Clement, still leaves us feeling a sense of pity for the emotional cruelty duly unleashed on a misguided, but ultimately decent, Don Pasquale.
At the same time as contemplating nuptials with the apparently chaste convent girl sister of his doctor, Malatesta, Pasquale has disinherited nephew Ernesto for spurning a wealthy wife in favour of the impoverished widow Norina.
John Brancy is an engagingly devious Dr Malatesta with an uncanny knack of employing duplicity as an expedient to suit his own ends. That he engineers a happy ending against seemingly impossible odds is the dramatic cornerstone to this light-hearted, yet often poignant, Italian opera.
The production opens with a revolving stage, cleverly introducing the main characters as their separate rooms roll by.
As Don Pasquale, baritone Jose Fardilha gives a fine avuncular portrayal of an ailing old man – rejuvenated with the thought of a young bride, only to be emotionally crushed by the unexpected outcome.
Tuomas Katajala as love-lorn nephew Ernesto infuses his libretto with palpable flashes of indignation at being evicted, mixed with the pain of no longer being able to financially support the woman he loves.
Sparks fly as Eliana Pretorian plays Norina who, in turn, plays 'Sofronia' – Pasquale's bride to be and Dr Malatesta's fictitious convent-educated sister.
This duality gives Pretorian great dramatic scope – especially singing the feisty part of role-playing 'Sofronia'. No longer adopting the guise of a shy pre-nuptial innocent she morphs into a post-wedding harridan. Her voice soaring as she taunts a broken-hearted Don Pasquale.
Watching these emotional machinations is the Chorus – be-wigged men and women in elegant white costumes looking in on the action as if an audience watching a performance.
This is a fine piece of visual delight which adds their powerful vocal presence, bringing a fresh burst of energy and dynamism to the production.
The garden scene is a delight with Ernesto singing a love song for Norina, while the chorus surreally sit about languidly under parasols elegantly sipping tea.
A charming production full of humour –but certainly not without its bitter-sweet moments.
(Tonight Thursday; tomorrow Friday Saul; Saturday Die Entfuhrung aus dem Serail)
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