Don Pasquale at the Met

Don Pasquale, Metropolitan Opera, 10 November 2010

 

The Met's Don Pasquale is all about Anna Netrebko. Otto Schenk's Met-by-numbers production is a mere four years old, though you'd be forgiven for guessing fifty-four. The other singers are, with one exception, merely competent - and what sort of conductor would boast of his Donizetti? It's Anna's minxy, knowing Norina that sets the stage on fire.

I've never heard her sing better. The part is just perfect, capitalising on her playfulness and energy and seductive charm, making few demands on her weaknesses in reach and agility. The tone is set the moment she appears, bursting out of her corset as she caresses her stocking teasingly up her thigh. No wonder the scenery applauders couldn't stem a prematurely ejaculated ovation.

In this production Dr Malatesta is very clearly Norina's lover. Mariusz Kwiecien, effortlessly superb, is Netrebko's match if not quite her equal. He pants down her neck, feeling her up at every opportunity. Watch out Anna, I don't think he's a real doctor! They're a pair of upwardly mobile street-smart guttersnipes, and their superhot chemistry is frightening.

It's not a new idea, but it explains Malatesta's motives and makes sense of the opera's strange shortage of love duets. Fleecing Don Pasquale is perhaps just a dry run. Once she's secured the hand of Matthew Polenzani's wimpy, sexless Ernesto, will she and Malatesta take him for everything he's got? And why the regretful expression after slapping the old man? Does she genuinely have a heart, or is she worried she's gone too far and blown the plan? The depth and complexity of Netrebko's interpretation keeps you guessing.

The sets may be uber-traditional but they're not generic and they serve dramatic purposes uncannily well. The lack of visual novelties shouldn't be mistaken for a lack of imagination. The squalor of poverty (Norina's humble home) and decayed grandeur (Don Pasquale's miserly quarters) are subtly contrasted - a target Jonathan Miller entirely missed in his dolls house cleverdickery at Covent Garden. The mechanics of class in this opera are centred on money not status, cold hard cash not upstairs-downstairs manoeuvring. I don't particularly care for this opera, and I don't generally go for traditional productions, but even I will admit Otto Schenk has nailed it.

The evening began with James Levine conducting the overture in loving detail - faster here, slower there, picking out the themes attentively. The orchestra slipped in neatly behind the singers and everything seemed perfect, but then it was announced after the interval that Levine was ill and couldn't continue. Joseph Colaneri - conceivably prepped in advance -  took over conducting duties seamlessly. I have every sympathy for Levine, but I'm sure I won't be the first to point out that the less work he takes on, the faster his health issues might resolve themselves.  

(By the way, guess who was snapped enjoying the show?)

    
 

 
 
  
 
 
 
 
 
 
 
 
 
 

production photos (above): Ken Howard / Metropolitan opera

curtain call photos (below): intermezzo.typepad.com

 
 
 
 
 

Comments

[Samuel]

That would have to be Mr Alagna, taking a break from Don Carlo rehearsals.

I saw this in HD yesterday, must say it was a great afternoon, with a strong and energetic cast. Not my favorite opera, but worth seeing.

[Donna Anna]

Twas a delight, from start to finish. The HD was enjoyed by everyone in our theater, including the Maestro's mama, and everyone onstage and in the pit were clearly having great time, too.

[cd]

What a fun and insightful review, intermezzo. My husband hated the story of Don Pasquale, but after reading your analysis, he gained a new appreciation.

[Jim]

Well at least it wasn't Jonathan Miller's staging (putting everybody in little boxes) that annoyed the hell out of Florez (who refused to clap for him when he came to take bows). I don't think Florez sings it much anymore. It doesn't serve his purposes.

[Liz]

My husband and I saw it in HD and thoroughly enjoyed it. We are considering buying tickets to see it live next year since we like Anna Netrebko & Mariusz Kwiecien and they were really good in their roles. We just needed Juan Diego Florez to put the cherry on the top. I saw him on DVD and he was really good in the role. Matthew Polenzani had a great voice but his acting was not as good as Juan Diego's. I would recommend it.

[Florin]

Hello,

Last Saturday, November 13, those who love opera had the opportunity to see in a local cinema Don Pasquale, broadcasted live in HD from New York. If you had the chance to see it, you are now being invited to participate in a study about this experience. Please, take 20 minutes of your time and let us know how was it. Just go to: www.digitalvaluelab.com

My name is Florin, I am a Doctoral student in Toronto, Canada. I wish to know your thoughts and feelings, and to learn about the reasons you attend this kind of event, about the kind of experience you are having while attending a music concert, opera, theatre, ballet or else.

I am grateful for your willingness to participate in this study, where I work with colleagues at Ryerson University in Toronto, Canada, and University of Innsbruck in Austria. I hope to hear from you. Thanks!

Florin