Don Pasquale

Don Pasquale (original title in Italian; in Spanish, Don Pasquale) is a comic opera in three acts with music by Gaetano Donizetti and libretto in Italian by G. Ruffini and the composer himself, adapted from the text of the Italian opera Ser Marco Antonio, written by Angelo Anelli for Ser Marcantonio (1810) by Stefano Pavesi. Don Pasquale premiered at the Theater des Italians in Paris on January 3, 1843.

It was composed when Donizetti had just been appointed musical director of the court of Emperor Ferdinand I of Austria, and Don Pasquale was his 64th opera of the 66 he composed.

The opera, in the opera buffa tradition, is inspired by the Commedia dell'arte and the characters in the piece directly echo those usually presented in this type of comedy. Thus, Don Pasquale is compared to Pantaleon, Ernesto to the enamored Pierrot, Malatesta to the clever Scapino, while Norina represents Colombina. The false Notary echoes a long line of false officials as an operatic resource. Here Doctor Malatesta, who would be like one of the servants of the Comedy, sometimes stupid and other times cunning or insolent, plays the role of intermediary, as Figaro had done in The Barber of Seville by Rossini (representative, also, of a new social class and of a new man).

History of performances

In the autumn of 1842, Donizetti, after a brief stay in Naples, returned to Paris where he was to supervise reruns of Linda de Chamounix at the Théâtre-Italien while working on the project of a new opera for Vienna, La Regina di Cipro (The Queen of Cyprus) after a libretto by Giacomo Sacchèro, who would become Caterina Cornaro. Donizetti had already reached the height of celebrity, having already composed his most famous operas, including Anne Boleyn, The Elixir of Love, Lucia de Lammermoor , The Favorite and The Daughter of the Regiment.

The new director, the critic Jules Janin, proposed to him to compose an opera buffa for which he could count on a host of first-rate singers: Giulia Grisi, the tenor Mario, Antonio Tamburini and Luigi Lablache. Donizetti accepted the commission and chose to work on Angelo Anelli's old libretto for Stefano Pavesi's opera Ser Marcantonio, premiered in Milan in 1810, very popular in the years that followed its creation. Giovanni Ruffini, one of the four Italian patriot brothers, then a refugee in Paris, was in charge of making the necessary adaptations, but Donizetti himself, as well as the singers during the repetitions, demanded such modifications that in the end he left and he demanded that his name not appear on the poster for the premiere.

History says that the opera was composed in only eleven days, but it is likely that in this period it was composed "only" the vocal lines and that the orchestration came from another era. The composer used fragments of music previously written for others: Gianni di Parigi, The Elixir of Love, L'Ange de Nisida (turned in The favourite). He directed the rehearsals himself. They apparently took place in a glacial atmosphere, the orchestra disliked the score. It is said that at the end of a rehearsal, Donizetti had demanded that the publisher Dormoy accompany him; He searched through his papers and ended up handing him a card that he held out saying: "Here, give this to Mario, and tell him to sing the last scene, in the garden, as a serenade to Norina."

Don Pasquale, which became one of the author's last compositions, was premiered to great acclaim at the Theater des Italians in Paris on January 3, 1843. The premiere was literally triumphant, which did not prevent the critical reception from being lukewarm.

The opera began a brilliant career in all the theaters of the world; at La Scala, Milan on April 17, 1843, the first performance in Italy, with Achille de' Bassani in the role of Malatesta. The same year it opened in Vienna, in London (June 29, 1843, Her Majesty's Theatre) and Brussels. In Germany it was released the following year. The premiere in Spain took place at the Teatro de la Cruz in Madrid on January 4, 1845. In the US, it premiered in New York on March 9, 1846, where Enrico Caruso, Tito Schipa or Leonid Sobinov would sing. Ernesto, Marcella Sembrich, Lucrezia Bori or Rosina Storchio played Norina, Antonio Scotti, Giuseppe de Luca or Victor Maurel in Malatesta. The first Australian performance was in Sydney on October 12, 1854 at the Royal Victoria Theatre.

Luigi Lablache as Don Pasquale

Don Pasquale is one of the works by Donizetti that never left the repertoire, even during the eclipse that the composer's work suffered from the 1860s and right up to the 1960s. one of the most popular operas; in the Operabase statistics it appears no. and Lucia of Lammermoor.

Characters

Plot

The action is set in Rome, at the beginning of the 19th century.

Act I

Scenes 1–3: A room in Don Pasquale's house, nine o'clock

Don Pasquale is a rich old man. He eagerly awaits the arrival of his doctor, Dr. Malatesta, to describe the bride he has chosen for his nephew Ernesto's. He refuses to marry a rich and noble lady as his uncle wishes because he is in love with Norina, a young and nice widow, but of humble condition. The uncle decides to disinherit him, marrying himself, and to this end he has asked Dr. Malatesta to find him a suitable wife. But this, Ernesto's friend, hatches a plan to help the two young people. Malatesta, faced with Pasquale's impatience, mutters that he is a jester, but proceeds to describe the attributes of the bride-to-be (Cav.: Bella siccome un angelo – "Beautiful as an angel&# 3. 4;). Honest, modest and sweet, when pressed, Malatesta reveals that she is, in fact, his sister. Therefore, the doctor proposes to Don Pasquale that he marry his sister Sofronia, a beautiful and pure maiden, just out of the convent. Don Pasquale willingly accepts. Overjoyed, Pasquale demands to meet her, and sends Malatesta to look for her, before singing of the love that has seized him (Cav.: Ah, an unusual focus – "Ah, a unexpected fire").

Before being summoned, Ernesto enters, and Pasquale reiterates his demands: if he marries the lady he has chosen, he will receive a generous dowry; if he rejects it, he will be disinherited. Ernesto declares his devotion to Norina and rejects his uncle's proposal. Don Pasquale decides to marry himself, since he is "old but well preserved". Ernesto begs his uncle to consult his friend Malatesta, but is shocked when he hears that Malatesta supposedly supports Pasquale (D.: Sogno soave e casto - "Delicate and chaste dream" 34;; Cab.: Ah! My fa il destiny beggar - "Ah! Fate makes me a beggar").

Scenes 4–5: An apartment in Norina's house

At home Norina is sitting alone, reading a book. He recites some words about love that seem corny to him and which he makes fun of, highlighting his cheerful and capricious attitude towards life (Cav.: Quel guardo il cavaliere - "That look at the gentleman&# 34;; Cab.: So anch'io la virtù magica – "I also know the magical virtue"). This cavatina is a highlight of the first act; in it Norina introduces herself and announces what she will be capable of; the later cabaletta is of a contrasting character, more rhythmic and moved, and thus shows the two faces of the character. The cavatina Quel guardo in Norina's first act requires exceptional technique: long phrasing, ornaments and flourishes, risky high notes and numerous register changes. She, like Pasquale before, is impatiently waiting for Dr. Malatesta. A servant gives him a letter and before the arrival of doctor Malatesta asks him to read it. In it Ernesto tells her how his uncle has kicked him out of his house and that therefore his wedding plans are in danger.

Malatesta arrives to explain the plan he has hatched, but Norina cuts him off and hands him the letter, which he reads aloud: Ernesto has announced his intention to leave Rome, and Europe. Malatesta assures him that he has adapted his plan. If Don Pasquale intends to marry Malatesta's sister, then Norina will play Sofronia, very different from what she really is, she must play dumb, be simple and shy; In this way they will be able to organize a fake marriage and after the wedding drive Don Pasquale to despair. Having arranged for his cousin to act as a notary, they easily trick Pasquale. Norina agrees to play her part in the deception, and they discuss their strategies in a lively duet: Pronta io son- "I'm willing"; I go, I run - "I go, I run").

Act II

A living room in Don Pasquale's house

Ernesto is alone, found out about the marriage and unaware of Malatesta's plans, he despairs and, depressed, decides to leave for distant lands (R.: Povero Ernesto! - "Poor Ernesto !"; A.: Cercherò lontana terra – "I will look for a distant land"; Cab.: E se fia che ad altro oggetto - "And its by chance to another object"). This aria is a good example of a tenor aria, full of sadness and melodic, accompanied by a trumpet solo. He leaves the room just as Pasquale enters, finely dressed, along with his servant, whom he instructs to bring Malatesta in as soon as he arrives. He walks around in his big wardrobe, waiting for him to disguise his old age.

Don Pasquale receives a visit from the doctor and from Norina, disguised, whom he introduces as his sister, Sofronia, recently arrived from a convent. Pasquale is quickly charmed by the beautiful girl, who is playing the part of a modest and submissive lady, much to Malatesta's satisfaction and Pasquale's obvious satisfaction. (T.: Via, da brava - "Go ahead, have courage"). Don Pasquale wants to agree to the marriage immediately. Norina gives her consent to the marriage, which pleases Pasquale. Malatesta makes enter as "notary" to his cousin Carlino of him. Sitting down, Carlino writes a marriage contract dictated by Malatesta and Pasquale (T.: Fra da una parte... – "On the one hand..."). The contract is written quickly: Pasquale signs but, before Norina can sign, Ernesto bursts in. He pretends to say his last goodbye, and is surprised to see Norina about to marry Pasquale. However, Malatesta convinces him not to say anything (Figliol non mi far scene – "Son, don't make a scene"; C.: Pria de partir, signore; E rimasto là impietrato - "Before you leave, sir; He has remained there petrified"), and is forced to act as final witness.

Don Pasquale signs a wedding contract with which he donates half of his assets to the young woman. As soon as the contract is signed, Norina abandons her pretensions of docility, and rejects Pasquale's embrace. She immediately changes her demeanor, becoming arrogant and impertinent. She announces her intention to teach him manners, and have Ernesto as a beau to accompany him on her evening outings. Pasquale is horrified by his transformation, while Malatesta and Ernesto can barely hide their amusement from him. (È rimasto là impietrato – "There he is, petrified"). Gathering the household staff, Norina rattles off a long list of demands - more servants (young and handsome), carriages and horses, furniture - and instructs them to spare no expense. Pasquale is petrified by his misfortunes, so Malatesta urges him to go to bed, warning Ernesto and Norina to keep up the deception. Don Pasquale feels cheated (Stretta: Son tradito, beffegiato - "I am betrayed, mocked").

Act III

Scenes 1–5: A room in Don Pasquale's house

Don Pasquale sits in a room, surrounded by piles of newly acquired jewelry, dresses and the like, as servants rush in and out of Norina's apartment (I diamanti, presto presto – "Diamonds, quickly, quickly"). Tired of his wife's excessive spending and the constant changes in the house, Pasquale musters the courage to confront his tyrannical new wife. Norina comes out, dressed to go to the theater. He tries to reason, but she pays little attention to him (D.: Signorina, in tanta fretta – "Miss, in such a hurry"). Exasperated, he forbids his wife to go to the theater that night, that if she leaves, he may not let her return, an idea to which she responds insincerely (Via, caro sposino – "Come on, dear hubby") and ends up giving him a cake.

On the other hand, Norina will make him believe that she also has a lover. Coming out of it, she drops a note which Pasquale picks up and reads. The note is addressed to Sofronia, organizing a meeting in the garden with the author who is an admirer and anonymous of hers. Desperate, he tells a servant to call Malatesta, before leaving the room.

The servants return and, among themselves, all together complain about the amount of work they are forced to do, revealing how much they are enjoying the charade that unfolds between Pasquale and his new wife (Cr.: Che interminabile andirivieni! – "What an endless coming and going!"; Quel nipotino - "That little nephew"). As Malatesta and Ernesto approach, however, they exit, certain that more entertainment awaits them. Malatesta reminds Ernesto of the main points of his plan, and the latter leaves. The doctor goes forward to greet Pasquale, who tells him about Norina's intended assignment, and his own plan to expose his infidelity before a magistrate. Malatesta convinces him to moderate his plan and Pasquale, believing him to be an ally, acquiesces in his terms, while contemplating his revenge on Norina (Aspetta, aspetta, cara sposina – "Wait, wait, dear wife"). Among the duets and triplets in the work, it is worth highlighting the buffoon duet Aspetta, aspetta, by Don Pasquale and Malatesta, in which the former plans to take revenge on Sofronia, while the latter mocks the old man (D.: Cheti, cheti - "Shut up, be quiet"; Aspetta, aspetta - "Wait, wait").

Scenes 6–7: The garden, next to Pasquale's house

In the garden, as night approaches, Ernesto serenades his beautiful love while awaiting her arrival (Com'è gentil – "How Beautiful"). At the end, Norina comes out, and they both sing a love duet (Tornami a dir che m'ami – "Say again that you love me"). The duet Tornami a dir che m'ami, in which Norina and Ernesto once again swear love, requires good phrasing and vocal ability from the two performers. Don Pasquale, together with Malatesta, comes out of the hiding place from where he watched the whole scene, Ernesto covers himself with a cape and runs home. Pasquale tries to confront Norina – he's caught her red-handed – but this only sparks a fight that leaves Pasquale sputtering. She refuses to leave at his request, so Malatesta, as if in agreement with Pasquale, takes care of her. Pretending to negotiate with Norina/Sofronia, she tells Pasquale that the only way to make her leave would be to allow Ernesto to marry her lover, whom she apparently "Sofronia" loves. despise. Pasquale consents, and calls the house, from which Ernesto and the servants leave. Don Pasquale announces to her, to anger her wife and convince her to leave, that he will be able to marry Norina and that she will be the new lady of the house. At this point Malatesta reveals that Norina is in fact the woman Pasquale believes he is married to, while the real Sofronia is in a convent. The old man, relieved to be released from the terrible wife, forgives everyone and blesses the marriage between Ernesto and Norina. When everyone is reconciled, the moral of the story – one must not marry old – is revealed in a playful quatrain (La moral di tutto questo – "The moral of all this"; Rondó: Bravo, bravo).

Orchestration

The orchestra is made up of:

• 2 flutes (also fluent), 2 oboes, 2 clarinets, 2 fagots
• 4 horns, 2 trumpets, 3 trombones
• timbal, pump and saucers
• strings
• internly: Pandereta, 2 guitars

Music analysis

This work clearly shows Donizetti's melodic talent, his instinct to connect with the public (as shown by Rossini) and the composer's musical maturity. Following the stylistic dictates of bel canto, the vocal line of the characters is very careful, now that the group effects are reinforced. Singing is the great protagonist, demanding from the singer great vocal agility, exact intonation, long phrasing and brilliant virtuosity. In the work are the defining elements of opera of this style: cavatinas, serenades, nocturnes, duets, triplets and concertantes or ensemble scenes that close the acts, as well as arias and recitatives accompanied by an orchestra, for which refers to the smoother transition between the lyrical parts and the narratives and helps the action progress more quickly, since the three elements (including the concertante) share the task of advancing the action, not as in the previous opera, which did nothing more than the recitative. The concertante numbers are reinforced in front of the arias, equating the role of both within the work. The arias are shorter and a cabaleta is added at the end, more rhythmic and fast.

The distribution of the voices in this opera (as in buffas in general) is more natural: a buffo bass with agility to perform coloraturas for Don Pasquale; soprano and tenor for the young lovers, Ernesto and Dorina, and a bass or baritone for the intermediary, doctor Malatesta.

The overture with which it begins, which maintains the old name of Sinfonia, gathers together, as was becoming usual in 19th century opera (and, after all, the postulates of the reform of Gluck), themes that the characters will sing later: Ernesto's serenade and Norina's cavatina. It begins with a tutti by the orchestra and then appears the theme of the serenade distributed for different instruments (bassoon, horn, flute and cello).

Recordings