Gaetano Donizetti
Operas Il Pigmalione (1816) Enrico di Borgogna (1818) Una follia (1818) Pietro il grande (1819) Zoraida di Granata (1822) La zingara (1822) La lettera anonima (1822) Alfredo il grande (1823) L'ajo nell'imbarazzo (1824) Emilia di Liverpool (1824) Alahor in Granata (1826) Elvida (1826) Gabriella di Vergy (1826) Don Gregorio (1826) Olivo e Pasquale (1827) Otto mesi in due ore (1827) Il borgomastro di Saardam (1827) L'esule di Roma (1828) Alina, regina di Golconda (1828) Gianni di Calais (1828) Il castello di Kenilworth (1829) Il giovedì grasso (1829) I pazzi per progetto (1830) Il diluvio universale (1830) Imelda de' Lambertazzi (1830) Anna Bolena (1830) Le convenienze ed inconvenienze teatrali (1831) Gianni di Parigi (1831) Francesca di Foix (1831) La romanzesca e l'uomo nero (1831) Fausta (1832) Ugo, conte di Parigi (1832) L'elisir d'amore (1832) Sancia di Castiglia (1832) Il furioso all'isola di San Domingo (1833) Parisina (1833) Torquato Tasso (1833) Lucrezia Borgia (1833) Rosmonda d'Inghilterra (1834) Gemma di Vergy (1834) Marino Faliero (1835) Maria Stuarda (1835) Lucia di Lammermoor (1835) Belisario (1836) Il campanello (1836) Betly, o La capanna svizzera (1836) L'assedio di Calais (1836) Roberto Devereux (1837) Maria de Rudenz (1838) Poliuto (1838) Pia de' Tolomei (1838) Le duc d'Albe (1839) Lucie de Lammermoor (1839) L'ange de Nisida (1839) La fille du régiment (1840) Les martyrs (1840) La favorite (1840) Adelia (1841) Rita (1841) Maria Padilla (1841) Linda di Chamounix (1842) Don Pasquale (1843) Maria di Rohan (1843) Dom Sébastien (1843) Caterina Cornaro (1844)
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Don Pasquale is an opera buffa, or comic opera, in three acts by Gaetano Donizetti with an Italian libretto by Giovanni Ruffini and the composer after Angelo Anelli's libretto for Stefano Pavesi's Ser Marc'Antonio (1810).^[1]

At the time of its composition, Donizetti had just been appointed music director and composer for the imperial court of Emperor Ferdinand I of Austria, and Don Pasquale was the 64th of an eventual 66 operas he composed.

The opera, in the tradition of opera buffa, harks back to the stock characters of the commedia dell'arte. Pasquale is recognizable as the blustery Pantalone, Ernesto as the lovesick Pierrot, Malatesta as the scheming Scapino, and Norina as a wily Columbina. The false Notary echoes a long line of false officials as operatic devices.

Performance history[link]

Don Pasquale was given its premiere on 3 January 1843 in Italian by the Théâtre-Italien at the Salle Ventadour in Paris.^[2][3] Performed by four of the most celebrated singers of the day,^[4] it was an immediate success.^[5] It was recognized at the time as, and is still considered, Donizetti's comic masterpiece,^[6] and remains one of the most popular of his 66 operas,^[7] as well as one of the three most popular Italian comic operas, the other two being Rossini's The Barber of Seville and Donizetti's own L'elisir d'amore.^[8]

The first performance in Italy was at La Scala, Milan on 17 April 1843 with Ottavia Malvani (Norina), Napoleone Rossi (Pasquale), Leone Corelli (Ernesto), and Achille De Bassini (Malatesta). Its first performance in Vienna was at the Kärtnertortheater on 14 May 1843, a production in which Donizetti participated and added the comic baritone duet "Cheti, cheti, immantinente" from a discarded portion of his unperformed opera L'ange de Nisida.^[9] In London it was presented for the first time in England on 29 June 1843 at Her Majesty's Theatre, and the United States premiere took place on 7 January 1845 at the Téatre d'Orleans in New Orleans.^[10] The first Australian performance was presented in Sydney on 12 October 1854 at the Royal Victoria Theatre.

Luigi Lablache as Don Pasquale

Roles[link]

Synopsis[link]

Time: Early 19th century^[11]

Place: Rome

Act 1[link]

Scenes 1–3: A room in the home of Don Pasquale, at 9 o'clock

Ernesto has refused the woman that his uncle Don Pasquale had found for him, and as a result is to be disinherited. Ernesto declares his devotion to the young - but poor - widow Norina. In view of Ernesto's determination, Don Pasquale decides to marry in old age to produce his own heir, and anxiously awaits the arrival of his physician, Dr. Malatesta, who is determined to teach Don Pasquale how foolish he is being, but has been pretending to search for a suitable bride. Malatesta, confronted with Pasquale's impatience, mutters that he is a buffoon, but proceeds to describe the attributes of the bride-to-be (Bella siccome un angelo – "Beautiful like an angel"). Honest, modest and sweet – when pressed, Malatesta reveals she is in fact his sister. Overcome with joy, Pasquale demands to meet her at once, and sends Malatesta to fetch her, before singing of the love that has gripped him (Ah, un foco insolito – "A sudden fire").

Ernesto comes back and pleads with the Don to consult with his friend Malatesta – when he hears that Malatesta supposedly supports Pasquale, he is amazed at this apparent betrayal (Mi fa il destino mendico – "Fate has made a beggar of me"). Ernesto determines to elope and writes to tell Norina that all is lost.

Scenes 4–5: An apartment in the home of Norina

Norina sits alone, reading a book. She recites a passage, before laughing at the situation described and reflecting on her own temperament (So anch'io la virtù magica – I too know your magical virtues"). She is in cahoots with Dr. Malatesta and impatiently waits for him to come and explain his plan at which he had only hinted. A servant delivers the letter from Ernesto, which she quickly reads and is instantly dismayed.

Malatesta arrives to explain the stratagem, but Norina cuts him off and hands him the letter, which he reads aloud: Ernesto has announced his intention to leave Rome, and Europe altogether. Malatesta reassures her, saying that he has adapted his plan: Norina shall play the part of Malatesta's sister. Having arranged for his cousin to act as a notary, they will easily deceive the Don. Norina consents to play her part in the deception, and they discuss her strategies in a lively duet (Pronta son; purch'io non manchi – "I am ready; if I do not miss").

Act 2[link]

Staging of Don Pasquale at the Salle Ventadour in Paris (1843)

A salon in the home of Don Pasquale

Ernesto is alone: lamenting his fate, he considers his decision to leave Rome (Cercherò lontana terra – "I shall seek a distant land"). He leaves the room just as Pasquale enters, dressed in his outdated finery, along with his servants, to whom he gives instructions to admit Malatesta on his arrival. He parades around in his grand costume, hoping it will conceal his advancing years.

Malatesta arrives with Norina in tow, and introduces her to Pasquale as his sister, Sofronia, fresh out of the convent. Pasquale is smitten, and Norina plays the part of a dutiful, modest and submissive lady, to Pasquale's satisfaction. Norina consents to the proposed marriage, which delights Pasquale. He wants to send for the notary to conduct the ceremony straight away – conveniently, Malatesta has brought one along, who waits in the antechamber.

Malatesta fetches the supposed notary, as servants arrange a table. Taking his seat, the "notary" writes out a marriage contract as dictated by Malatesta and Pasquale (Fra da una parta – "Between, on one hand"), where the Don bequeaths all his estate to be administrated by Sofronia. The contract is quickly drawn up: Pasquale signs but, before Norina can affix her signature, Ernesto bursts in. Intending to say a final farewell, he is amazed to see Norina about to marry Pasquale. However, Malatesta persuades him not to say anything (Figliol non mi far scene – "Son, don't make a scene"), and he is forced to act as the final witness much to Don Pasquale's delight.

As soon as the contract is signed, Norina abandons her pretence of docility, and refuses Pasquale's embrace. She announces her intention to teach him manners, and to have Ernesto as a gallant to accompany her on evening strolls. Pasquale is horrified at this transformation, while Malatesta and Ernesto can barely conceal their amusement (È rimasto là impietrato – "He stands there, petrified"). Summoning the household staff, Norina recites a long list of demands – more servants (young and handsome at that), carriages and horses, furniture – and instructs them to spare no expense doubling all their wages. Pasquale is stricken at his misfortune, so Malatesta urges him to go to bed.

Act 3[link]

Scenes 1–5: A room in the home of Don Pasquale

Pasquale sits in a room, surrounded by piles of newly-purchased jewels, dresses and the like, as the servants bustle in and out of Norina's apartment (I diamente presto presto – "The diamonds, quickly, quickly"). Dismayed by the piles of bills and invoices, the Don summons the courage to confront his tyrannical new wife. Norina emerges, dressed to go out. He attempts to reason with her, but she pays little heed (Dove corre in tanta fretta – "Where are you running in such a hurry"). He suggests that if she leaves, he may not allow her to return, an idea that she meets with patronising insincerity (Via, caro sposino – "There, there, dear little husband") but the discussion ends in her slapping him. As she exits, she drops a note which Pasquale picks up and reads. The note is addressed to Sofronia, arranging a meeting in the garden with its unnamed, admiring author. Pasquale calls for a servant to summon Malatesta, before leaving the room.

The servants return and, amongst themselves, at once complain at the amount of work they are being made to do, and reveal how much they are enjoying the farcical drama developing between Pasquale and his new wife (Che interminabile andirivieni! – "Such endless coming and going!"). At the approach of Malatesta and Ernesto, however, they exit, assured of more entertainment to come. Malatesta reminds Ernesto of the finer points of their plan, and the latter leaves. The doctor moves forward to greet Don Pasquale, who tells him of Norina's intended assignation, and his own plan to expose her unfaithfulness before a magistrate. Malatesta persuades him to moderate his plan and Pasquale, believing him an ally, consents to his conditions, while plotting his revenge on Norina (Aspetta, aspetta, cara sposina – "Wait, wait, dear little wife").

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

In the garden, as night draws in, Ernesto sings of his love for Norina, as he waits for her arrival (Com'è gentil – "How gentle"). At last, Norina emerges, and they sing of their love for one another (Tornami a dir che m'ami – "Say again that you love me"). Don Pasquale and Malatesta have observed and, as they reveal themselves, Ernesto covers himself with a cloak and runs to the house. Pasquale tries to confront Norina – he has caught her in flagrante – but this only provokes a fight that leaves the Don spluttering. She refuses to leave at his demand, so Malatesta, as per his agreement with Pasquale, takes over. Pretending to negotiate with Norina/Sofronia, he tells Pasquale that the only way to make her leave will be to allow Ernesto to marry his beloved, whom "Sofronia" apparently despises. Pasquale consents, and calls out to the house, from which Ernesto and the servants emerge. He instructs Ernesto to send for his would-be bride, but Malatesta reveals that Norina is in fact the woman Pasquale thinks he married, while the real Sofronia remains in a convent. All are reconciled, and the moral of the story – not to marry in old age – is revealed in a playful quartet (La moral di tutto questo – "The moral of all this").

Recordings[link]

References[link]

Notes

Cited sources

• Ashbrook, William (1982). Donizetti and His Operas. Cambridge University Press. ISBN 0-521-23526-X ISBN 0-521-23526-X.
• Ashbrook, William (1992). "Don Pasquale" in Sadie 1992, vol. 1, pp. 1224–1226.
• Ashbrook, William; Hibberd, Sarah (2001). "Gaetano Donizetti" in Holden 2001, pp. 224–247.
• Budden, Julian (1992). "Donizetti, Gaetano. 5. Operas" in Sadie 1992, vol. 1, pp. 1209–1214.
• Donizetti, Gaetano (n.d. [1870]). Don Pasquale : dramma buffo in 3 atti : rappresentato per la prima volta al Teatro Italiano di Parigi il 3 Gennaio 1843. Opera completa per canto e pianoforte (piano-vocal score with libretto, plate 42051). Milan: Ricordi. IMSLP file #141736.
• Grove, George (1889). A Dictionary of Music and Musicians, vol. 4 ("Sumer is icumen in" to "Z"). London: Macmillan. Vol.4 at Google Books.
• Harewood, The Earl of; Peattie, Antony, editors (1997). The New Kobbe's Opera Book. London: Ebury Press. ISBN 0-09-181410-3
• Holden, Amanda, editor (2001). The New Penguin Opera Guide, New York: Penguin Putnam. ISBN 0-14-029312-4.
• Loewenberg, Alfred (1978). Annals of Opera 1597–1940 (third edition, revised). Totowa, New Jersey: Rowman and Littlefield. ISBN 978-0-87471-851-5.
• Melitz, Leo (1921), The Opera Goer's Complete Guide. View at Google Books.
• Osborne, Charles (1994). The Bel Canto Operas of Rossini, Donizetti, and Bellini. Portland, Oregon: Amadeus Press. ISBN 0-931340-71-3.
• Sadie, Stanley, editor (1992). The New Grove Dictionary of Opera (4 volumes). London: Macmillan. ISBN 978-1-56159-228-9.
• Weinstock, Herbert (1963). Donizetti and the World of Opera in Italy, Paris, and Vienna in the First Half of the Nineteenth Century, New York: Pantheon Books. OCLC 601625.

External links[link]

Wikimedia Commons has media related to: Don Pasquale

• Libretto (Italian) at the Wayback Machine (archived June 10, 2008)
• Longer synopsis of Don Pasquale from English Touring Opera.
• Discography from Stanford website
• Don Pasquale: Free scores at the International Music Score Library Project
• Don Pasquale (1940) at the Internet Movie Database
• Don Pasquale (TV 1955) at the Internet Movie Database
• Don Pasquale (TV 1985) at the Internet Movie Database