Don Pasquale review: A night of pure fun at the opera | Theatre | Entertainment

Don Pasquale is a well-off aged gentleman who’s fed up together with his nephew Ernesto whom he sees as a wastrel, lazily sponging off him. Ernesto desires to marry Norina, however Don Pasquale is not going to permit it as he sees her as lower-class and unsuitable. Matters come to a head when Pasquale proclaims that he’ll discover himself a spouse, disinherit Ernesto and chuck him out of the home.

A plan is then concocted by Ernesto’s buddy Dr Malatesta: Pasquale shall be launched to Malatesta’s sister, an irresistibly shy and demure convent lady.

The two shall be married by a faux notary and as quickly as that occurs, the lady turns right into a domineering, grasping harridan who makes Pasquale’s life a distress.

For Malatesta’s alleged sister is none apart from Norina in disguise. To finish his distress, he lets Ernesto marry Norina to rid himself of this dreadful girl.

The title function is performed by Italian baritone Lucio Gallo in gloriously comedian fashion, however the actual star of the piece is South African soprano Pretty Yende whose magnificent excessive notes are matched by her assured appearing which mixes glorious comedian timing with some very humorous gestures.

She is first seen in Michieletto’s manufacturing as a photographer’s assistant, which permits her to be skilled for the function of duping Pasquale whereas a digital camera is skilled on her to project an enormous picture of her expressions, fluttering eyelashes and all, onto a display on the stage.

Unlike most makes an attempt to modernise operas, this trick works superbly, becoming completely with the libretto and enhancing our view of the motion.

The Polish baritone Andrzej Filonczyk added to the fun in the function of Malatesta, whereas Spanish tenor Xabier Anduaga displayed a remarkably spectacular and highly effective voice as Ernesto, although he may need turned the quantity down a shade when singing with others.

The Italian conductor Giacomo Sagripanti confirmed his mastery of comedian opera proper at the begin, with some completely judged variations of velocity in the overture which introduced out the fun in Donizetti’s music.

The composer knew the best way to show comedy in his music and Sagripanti understands it completely. Comic operas are what all of us want at the second and the viewers have been all smiling as we left.

Box Office: roh.org.uk or 020 7304 4000 (till 20 May).

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