In an effervescent and imaginative production, the Washington National Opera is offering Gaetano Donizetti’s “Don Pasquale” as the final opera of its season. One of Donizetti’s most famous operas, “Don Pasquale” is the epitome of mid-19th century comic operas, of which Donizetti was a master. As in all such operas, the characters are patterned on commedia dell’arte types: the foolish old man, the scheming young woman, the lovesick young man and so on. But Donizetti worked enough reality into his characters that they don’t seem to be simple stock stereotypes.
In a text that is all about role-playing, the 70-year-old Pasquale (James Morris) is determined to marry a young woman. He charges his doctor, Malatesta (Dwayne Croft), with finding a suitable match for him. He also banishes his nephew, Ernesto (Antonio Gandia), for not giving up his penniless girlfriend, Norina (Ekaterina Siurina).
| Onstage |
| ‘Don Pasquale’ |
| Where: The Opera House, Kennedy Center, 2700 F St. NW |
| When: May 18, 21, 22, 24, 26 and 27 |
| Info: In Italian with English supertitles; $25 to $300; 202-295-2400; dc-opera.org |
Meanwhile, Malatesta is plotting with Ernesto and Norina to fool the doddering, mean-spirited Pasquale. He brings a veiled Norina to Pasquale, saying that she is Sofronia and has been living in a convent. Thrilled with his apparently innocent catch, Pasquale insists on marrying her.
Director Leon Major has cleverly set this production in the mid-1660s, capitalizing on the theater-rich atmosphere of that time. Since the major theme of this opera is play-acting, just before Malatesta reveals to Norina his plan to hoodwink Pasquale, Major has inserted a dumb show that reveals the action of the opera to follow.
The world-famous Morris is impressive as Pasquale, bringing out the complexity of the character, in both his rapid-fire patter songs and his serious ones. After the couple are married and Sofronia/Norina suddenly takes charge, there is a moment when she slaps the old man and his personality changes: He becomes a sympathetic character. Morris makes this sudden change perfectly credible.
Siurina is the perfect bel canto heroine, her many arpeggios crisp and bright. Gandia’s lustrous tenor commands attention, particularly in his mournful aria “Cercero lontana terra.” Croft’s rich baritone brings depth and contour to Malatesta.
On opening night, Maestro Placido Domingo drew bright colors from the Washington National Opera Orchestra in an exhilarating rendition of Donizetti’s work.
There have been many outstanding operas at the WNO during Domingo’s tenure as artistic director. It is fitting that Domingo’s last appearance as conductor before leaving those roles is in an opera that is such a triumph.
Editor’s Note: Certain roles of “Don Pasquale” are double cast. The singers reviewed here performed on opening night.
