Remembrance of things past

by Melanie Fritsch / translation: Andrej Huesener / Photos: Bernd Uhlig

Audiences accustomed to modern stagings may find themselves dumbfounded: the curtain rises and discloses a stage design reminiscent of 1950s TV opera broadcasts. The opulent stage (design: Bernard Arnould) and its fully painted backdrop are populated by harlequins and pierrots in candy-coloured carnival getups, as well as by characters in historical and historicized costumes. The overall atmosphere is one of dreamy playfulness, as if time had stood still - picturesque scenes of good old days.

The opera's story is well known: rich bachelor Don Pasquale, 70 years of age, is intent on marrying a young woman and making at least half a dozen babies. He also wants to punish his parasite nephew Ernesto who is deeply in love with Norina, a lady of questionable reputation, and refuses to marry a rich woman chosen by his uncle. Dottore Malatesta plays matchmaker and arranges Don Pasquale's marriage to his "sister" Sofronia - who of course is none other than Norina - who, once married to Pasquale, turns out to be a nasty piece of work, making Pasquale's life hell. And so the intrigue continues until the conned Pasquale allows Norina to marry Ernesto: the young couple have got each other, and also a significant inheritance.

Donizetti's seemingly traditional opera buffa uses characters and storylines from commedia dell 'arte. However, Donizetti called his opera dramma buffo - after all, the audience sympathises with poor old conned Don Pasquale despite the comic relief.

Bruno Pola sings Don Pasquale with powerful voice and infectious comedy talent. The same goes for the rest of the cast. Ofelia Sala is the star of the production, her powerful soprano submitting "poor" Don Pasquale to a sheer assault of belcanto coloratura. Kenneth Tarver impresses as her cheesy lover. Markus Brück deserves special mention: on the performance I attended he sang Malatesta despite suffering from swollen vocal chords. His performance may not have been up to his standards, but the audience thanked him for his efforts with an ovation.

The Deutsche Oper Orchestra, conducted by Yves Abel, was as convincing as the soloists, delivering Donizetti's melodious tuneful - sometimes sharp - score with great musicality.

However, the musical achievements cannot hide the fact that the production seems to be stuck in the past and looks like an old-fashioned fairy tale for adults. Sure, the concept is maintained throughout and makes sense, but the audience is left wishing for rather more than just innocent colourful picture-book theatre.