Misha Kiria, baritone (Don Pasquale); Simone Osborne, soprano (Norina); Santiago Ballerini, tenor (Ernesto); Joshua Hopkins, baritone (Dr. Malatesta); Alex Halliday, bass-baritone (Notary) / Canadian Opera Company Orchestra and Chorus, Jacques Lacombe, conductor. Four Seasons Centre, April 26, 2024; continues to May 18. Tickets here.
Last staged by the Canadian Opera Company a long thirty years ago — in November 1994 at the Elgin Theatre to be exact — Donizetti’s comic gem, Don Pasquale, returns to the COC stage in a comic strip-like production that originated from the Scottish Opera. Based on the enthusiastic response from the full house on opening night, the COC has hit the jackpot with this show.
A quick bit of research reveals some startling statistics. Don Pasquale ranks an amazing 31st worldwide in popularity, as measured by the number of performances, at 4,150, in 936 productions since 1996. Even with these impressive numbers, it ranks only third among Donizetti operas, after L’elisir d’amore and Lucia di Lammermoor, a real testament to the popularity of this composer.
Don Pasquale is your archetypal commedia dell’arte, a genre much in favour in the 18th century. There are only four principal characters, a small cast by operatic standards, namely the old and crusty curmudgeon Pasquale, the pretty and smart Norina, the love-sick Ernesto, and the scheming Dr. Malatesta. Only two hours long and with an amusing plot, this show has plenty of funny moments and catchy tunes that will let everyone go home happy.
The Scottish Opera production is the creation of the French-Canadian team of Andre Barbe and Renaud Doucet. The show is replete with cartoon-like projections — with a special nod to cat lovers — which effectively sets the tone for zaniness galore at the “Pensione Pasquale,” where the action takes place in 1960s Rome. Barbe and Doucet have created a real motley crew of wordless extras, who contribute in no small way to comic effects.
The strong cast was led by Georgian baritone Misha Kiria. A mountain of a man with a voice to match, he sang well and commanded one’s attention. Particularly amusing were the scenes between Pasquale and his nephew Ernesto, sung by Santiago Ballerini, who looked diminutive next to Kiria. The Argentinean tenor was a sensational Count Almaviva two seasons ago. As Ernesto, his gorgeous tenor with a ton of squillo never sounded better.
Canadian soprano Simone Osborne made a welcome return after her endearing Gretel, now as a vivacious and smart Norina. She sang with beauty if modest volume, particularly in the opening scene with her in the upper level, and no backdrop to push her sound forward. Once she was on the floor level, her crystalline tones came through beautifully and she acted up a storm.
Another Canadian making a highly anticipated return was Joshua Hopkins, a frequent guest artist, last heard as Papageno at the COC. His warm and sturdy baritone was tailormade for Dr. Malatesta, and he delivered in spades on opening night.
Also making a welcome return to the COC was Quebec Maestro Jacques Lacombe, who led the orchestra in a high energy and forceful reading of the effervescent score.
A must for Donizetti fans. Seven more performances to May 18.
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