Review: Calgary Opera's Don Pasquale updated to a witty romp through the 1950s

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Calgary Opera’s second offering this season is Donizetti’s fun-filled, comic opera Don Pasquale. Although it is set in Italy in the early 19th century, the opera is often presented in an updated version. Calgary opera goers with long memories may remember the previous 2002 performance set in the Old West with its hilarious scene for bathtub and tenor. This time, the updating evokes images of the 1950s, mixing references from Italian and American films during this heady period. Don Pasquale, the title character, is presented as an aging silent-era film star, with a desire to marry. His friend, Dr. Maletesta, is re-cast as a composer-director of movies. The rest of the cast is connected in some way to the world of film as aspiring movie actors and flunkies.
The plot of the opera is, fundamentally, a re-telling of the age-old story of young lovers outwitting an older man through the aid of a friendly know-it-all who delicately manipulates the situation. This production gives a post-modern twist to the dramatic action. Different planes of reality are presented, and one never quite knows what is to be taken as real or fantasy. In this, the production expects that the audience is knowledgeable about the film culture of the 1950s from Roman Holiday to Singing in the Rain. As I saw the production, there is an even stronger connection to Fellini’s early films, especially Amarcord, particularly for its time shifts and playing with reality. Leaving all this aside, the idea is easy to grasp, including the dancing style of Singing in the Rain and other movies of this era.
The opera has only one female lead, but she gets a generous amount to sing, and much of it rather tricky music. As Norina, the young woman who must pretend to be a shrew to show Don Pasquale that marriage to a young woman at his age is a bad idea, Lucia Cesaroni was impressive as much for her acting as her singing. Cesaroni has a strong, clear voice and she tossed off the florid singing the role the requires with ease and aplomb. She was equally adept as an actress, not only as the comic shrew but in her scenes with her intended husband, the tenor Ernesto. The final scene was especially touching, but also playful, as the couple have a special romantic moment astride a Lambretta, an icon of the 1950s.

Edmonton’s John Tessier is the tenor lead in a part that requires a very high tenor who can float the top notes with apparent ease but also project into a large auditorium. In these vocal requirements, there are few tenors better than John Tessier, whose voice can effortlessly sit in a vocal range that for most tenors is effortful. He is the perfect Rossini-Donizetti tenor. On home turf for him, vocally speaking, Tessier delivered all that there is in the role, including the wonderful ballad scene.
Calgary’s Phillip Addis was Dr. Malatesta, cast here as a composer-director. He is the man-about-town of the opera, the character that fixes all problems. Addis has sung frequently in Calgary, and here, as on other occasions, made a fine impression. His strong baritone contrasted nicely with the other principal characters, his duet with Don Pasquale an especially comic number. As the opera’s dramatic catalyst, he has plenty to do, especially with the comedy side of the opera, elements he handled with confidence and good timing.

Coming out of retirement after a long, distinguished career, John Fanning sang the title role of Don Pasquale. Fanning has appeared frequently with Calgary Opera since the 1980s, and his experience on stage was evident at every turn. His singing is not quite what it was 40 years ago, but he can certainly manage the part of the elderly Don Pasquale, the occasional vocal wobbles only enhancing his portrayal of an aging leading man. Fanning’s scenes with Cesaroni in her shrew persona were especially funny and much enjoyed by the audience. Ryan Nauta, in his first year with the McPhee Artist Development Program, rounded out the singing cast.
The imaginative set was designed by Calgary designer Scott Reid for this production. The two levels of a dressing room and the film stage worked well. Heather Moore’s time-sensitive costumes evoked the 1950s, right down to the shoes. David Fraser’s intelligent lighting highlighted the important points as the opera progressed, colouring but not intruding. The chorus only has a modest role in this opera, but it contributed substantially to the comedy. Vocally, it sang with confidence and clarity.
Stefania Panighini is the stage director. Experienced with Italian operatic comedy, she is also knowledgeable about Italian film through her studies at Italy’s famous center for film in Torino. The treatment of comic detail was spot on, from the shaping of the big scenes to telling, small details. I particularly enjoyed the Rossini-style quartet ensemble where, momentarily, time stops. This stock device, often awkward to integrate into otherwise rapid action, was especially smoothly handled.
The Calgary Philharmonic Orchestra was led by Quebec conductor Jacques Lacombe, in a crisply played account of the score. This included some excellent solo moments for trumpet and other woodwind instruments. Tempos were well-judged and the settled quality of the orchestral playing conveyed the impression that the musicians were comfortable with the direction from the pit.
This is a witty, fun-filled production, with excellent singing from the principal singers. Anyone who enjoys Rossini’s The Barber of Seville will equally enjoy this opera and this detailed, well-crafted production. It is fine entertainment to warm up a cold snap in the city.
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