Don Pasquale at the Royal Opera House

Don Pasquale - Royal Opera House, 12 September 2010

On its first outing in 2004, only an improbably blond Juan Diego Flórez in the role of Ernesto raised this production above the mediocre. This time round, there’s less star wattage to mask its deficiencies.

The multilayer dolls house set is immaculately constructed but it’s hard to see what it adds to the story, other than endless stairs for the principals to puff and pant their way up. No-one the size and vintage of Paolo Gavanelli (in the title role) needs that. Set way back behind the arch, it distances the singers from the audience and forces them to work harder to be heard. Trowelled-on character makeup extends the doll allusion but removes us even further from the very human motivations which drive the story.

Too much baffling and gratuitous ‘business’ from the ever-present servants confuses matters further. Has Jonathan Miller mistaken the blunt emotional mechanics of Don Pasquale for the subtle class tensions underpinning Rossini’s Barbiere?

Evelino Pidò’s initial Parsifalesque plod hardly helped either. Only when the singers depart the house and wander downstage for the closing garden scene do we see the work as it should be seen – a slight but charming chamber opera, aided by some livelier conducting from Pidò.

The singers did their best. Poor Barry Banks, suffering we were told from an ‘allergic reaction’, sang clearly despite his ailment and Ernesto’s grotesquely effeminate get up. Íride Martínez, a deliciously sly and knowing Norina, spun effortlessly through the coloratura with only a shrill edge marring her performance. Gavanelli, much funnier than I’d expected, generated sympathy for the deceived Don Pasquale. Miscast as Doctor Malatesta, Jacques Imbrailo made up in energy and intelligence what he lacked in bel canto style.

Paolo Gavanelli:

Íride Martínez:

Jacques Imbrailo and Íride Martínez:

Barry Banks:

 

 

Production photos:Catherine Ashmore for Royal Opera House

Curtain call photos: intermezzo.typepad.com

Comments

[Gert]

Yay to photos! I hope Barry Banks is recovered for Thursday; he had to cancel when I had booked Lucia largely for him, and he was replaced by seemingly the world's worst tenor (Jaewoo Kim).

[XYZ]

Will you write about Cosi too?

[inter mezzo]

@Gert I think most people wouldn't even have guessed there was anything wrong with Barry Banks without the announcement.

@XYZ I'm not planning to go to Cosi, so probably not.

[XYZ]

Shame, but thanks for answering :). We seem to have seen some of the very same productions actually, for example Elisir with Breslik and Carlo with Hampson (I am in Munich, where it is cheaper to go than to Covent Garden ... fortunately).

[Paul King]

So glad you're back in tip top form. Off to Don Pasquale tonight, will report back if anything interesting occurs.

[Richard Carter]

Great to see the photos back, two fingers to that twat Avory eh?

I don't agree with your dislike of the set/servants' business etc. I thought it added a lot of interest to what isn't a terribly thrilling opera, and the performance of the androgynous Major Domo was worth the money without his/her singing a note. It's enjoyable light fun, but that's the extent of it: it's not exactly Tristan! But I thought you were spot on over the weird make-up used, not just for Ernesto but (as your photos clearly show) others too.

Keep them rolling!

[Jim]

If I recall correctly, Florez wasn't happy about the production that put singers into boxes, making projection difficult. When curtain calls came, he very pointedly refused to clap for the fellow (Beyond the Fringe one whose name escapes me at the moment) who designed it.

[a mac]

Went last night - I though it went pretty well from a musical stand point. There has been some adjustment from the first run to the make-up and wigs (I think) and people are slightly more recognisable. I saw it from the back of the balcony - which I think is about right height and distance to view it from as you are looking at it - not up at it !

The set is splendid for about 5 mins - after that it becomes exceedingly tiresome. It restricts the action far too much - and it raised hardly more than a few laughs the whole evening - which is a sort of a give away really !

[Tristan]

@a mac: I agree wholeheartedly with the second half of your comments.

Unfortunately, I didn't find anything at all to keep my interest, and left at interval (even the vacuous production at Sadler's Wells earlier in the year was more enjoyable).

I had a fantastic and heavily-discounted stall seat, and from that angle the production looked awful. What a daft idea to have the performance take place behind balustrades and at such height.

Sadly, the area around me yawned with empty seats.

Not even the "house champagne" (part of the package) was of any merit, and I abandoned it after the first sip.

[Paul King]

For once, this was a production that was actually viewed very well from the humble lower slips and due to a few empty perches,"musical chairs" was much in evidence, self included. Major Domo was certainly an enigma. Barry Banks warmed up to some beautiful bel canto singing but I agree that he looked ridiculous and rather pathetic in his powder blue breeches and white tights, hardly the look or type that Norina would fall for. Gavanelli tried a little too hard in parts but pulled it off and sang better as the evening progressed. Iride Martinez also shone and sung bright with a near perfect closing aria that silenced the rather fidgety audience.

[Keith]

Glad I gave this a miss and decided to tread water in pigswill instead - far more enjoyable!

[Penny Dreadful Vintage]

Hmm, I actually really enjoyed this. I thought the set was clever and fun, and as someone said above, provided more interest when the actual action was lagging. I laughed quite a bit, and thought the singing from Martinez was brilliant. Gavanelli wasn't quite powerful enough in places, and (small point) I disliked the silly Versace clothing boxes, but in general I loved the performance. Much better than the Miller Cosi production, which I saw last year and utterly detested.

[Sir Lunchalot]

Saw this last night - not one that I'm familiar with and I really only went because we'd enjoyed the other Donizetti's that we've seen recently. I have to say I thoroughly enjoyed it. The doll's house is a bit unnecessary, but in my experience directors, set designers etc generally add little to an opera, and most succeed in spite of, rather than because of, the staging. The servants 'business' is amusing, although can detract from the focus, but overall I would recommend.