Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

OPERA TODAY ARCHIVES »

Reviews

Production by Laurent Pelly, set design by Chantal Thomas [Photo by Ken Howard courtesy of Santa Fe Opera]
29 Aug 2014

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Don Pasquale at Santa Fe Opera

A review by Maria Nockin

Above: Production by Laurent Pelly, set design by Chantal Thomas [Photo by Ken Howard courtesy of Santa Fe Opera]

 

In the early eighteenth century, opera buffa began to emerge as a separate entity, different from opera seria. Opera seria depicted kings and was designed to entertain the nobility. Opera buffa depicted ordinary people with more common problems and it was sung in the language of the audience. Opera buffa often used stock characters with which the audience was already familiar, such as those of the commedia dell’arte. Gaetano Donizetti’s Don Pasquale follows that tradition in making reference to familiar characters. Pasquale is a blustering Pantalone, Ernesto a lovesick Pierrot, Malatesta a scheming Scapino, and Norina a wily Columbina.

The atmosphere at the rehearsals for the opera’s Paris world premiere had been cool and dispassionate until the final dress rehearsal. It was then that Donizetti added a new piece for the tenor. Ernesto would sing the lyrical melody, “Com'è gentil” in the third act. The opera was wildly successful at its premiere in the Théâtre-Italien on January 3, 1843. Today, Donizetti’s Don Pasquale and L’elisir d’amore (The Elixir of Love), along with Rossini’s Il barbiere di Siviglia (The Barber of Seville), are still the most popular operatic comedies.

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down and it seemed hard for the singers to play their scenes against it. Duane Schuler’s lighting added to the perception of incongruity.

Andrew Shore as the Don and Zachary Nelson as Dr. Malatesta created memorable characters, but had some difficulty in synchronizing their patter duet. The singer who actually held this performance together was Brenda Rae, the Norina. Having sung impressively as Vlada Vladimirescu in The Impresario and created the character of The Cook in Le Rossignol, she went on to show her versatility as a fascinating Norina. Her personality and musicality helped to keep this comedy on an even keel.

In the garden scene, Ernesto, Alek Shrader, sings while climbing a ladder to attach a wooden moon to a roof and it seemed like he was doing too many things at once. He is a fine young singer with a slender voice that should be heard to best advantage. Apprentice Calvin Griffin who has been a fine singing actor in the Young Artist Program at Arizona Opera this year, was most convincing as the Notary.

Conductor Corrado Rovaris played the score with crisp tempi that underlined its comic origins. Unfortunately, their playing tended to be quite loud and sometimes they drowned out the lower voiced singers. However, the performance was a comedic winner and the audience went home laughing and singing Donizetti’s memorable melodies.

Maria Nockin


Cast and production information:

Don Pasquale, Andrew Shore; Dr. Malatesta, Zachary Nelson; Ernesto, Alek Shrader; Norina, Brenda Rae; Notary, Calvin Griffin; Conductor, Corrado Rovaris; Director and Costume Designer, Laurent Pelly; Scenic Designer, Chantal Thomas; Lighting Designer, Duane Schuler; Chorus Master, Susanne Sheston

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):