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

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

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):