Courtesy of Artshound.com
On Friday, February 4, 2011, Gaetano Donizetti’s great comedy Don Pasquale returned to the Metropolitan Opera for its second run of the 2010-11 season. Its original run from Oct. 29 through Nov. 18 was headlined by an HD Performance on Nov. 13, which was transmitted to hundreds of movie theaters worldwide.
Don Pasquale tells the tale of a wealthy man who intends to disinherit his nephew Ernesto for disobeying his request to marry into a rich family. In order to do so, Don Pasquale plots to marry the sister of his doctor, Malatesta. However, Malatesta, who is also Ernesto’s best friend, intends on fooling the old man and calls up the aid of Norina, Ernesto’s lover, to play the part of his sister Sofronia and perform a false marriage with Don Pasquale. Pandemonium ensues as the marriage turns out to be nothing that Pasquale hoped for.
Friday’s performance was headlined by Russian Soprano Anna Netrebko who played the part of Norina. Netrebko was hailed for her energetic portrayal during the fall run and continued to impress during Friday’s performance. Theatrically, she was an unstoppable force. Her Norina was an energetic and confident seductress. Throughout the performance, she ran around the stage, jumped up and down on furniture, and displayed even imitated ballerina steps at one point. The end of her first scene was punctuated by somersault moments after singing a high note and running around the set. Vocally, Netrebko was secure for the most part, even though she did show subtle hints of intonation problems in her upper register during the opening scene. In the final scene of Act 3, she showed signs of tiring during the famous duet “Tornami,” likely due to the exhausting physical demands from earlier parts of the performance. However, these minor issues are not enough to deter from what Netrebko is able to achieve: A synthesis of great singing and great acting on the operatic stage.
In the title role of Don Pasquale was American Bass-Baritone John Del Carlo who gave a solid performance all around. His voice, both large and imposing, showed great flexibility, particularly in his opening cavatina “Un Fuoco Insolito” and the famous “patter duet (more on this later).” His portrayal of Don Pasquale was one of reverence and warmth, but filled with fiery outbursts that make his Don Pasquale come off as a man who knows he is aging, but wants an opportunity to hang on to his youth.
Polish Baritone Mariusz Kwiecien played the opera’s mastermind Malatesta (which could be translated into “cruel mind”) with charm, wit, and playfulness throughout. He sounded comfortable vocally, particularly during the legato lines of his opening aria, “Bella siccome un angelo.” Upon hearing his Malatesta and comparing it with other less noteworthy performance such as Enrico in “Lucia di Lamermoor,” this critic cannot help feeling that Kwiecien is better suited for the lighter, comic belcanto roles at this stage in his career. One of the most notable moments for Kwiecien was during the Act 3 duet “Aspetta, aspetta” (also known as the “patter duet”) in which Pasquale and Malatesta plot on how to catch Sofronia and her unknown lover. During this duet, the singers are asked to sing running sixteenth notes at exhilarating speed, first on their own and then together. When performed correctly and the singers coordinate well with one another, the duet is a showcase for stunning vocal virtuosity. Most of the time, the effect, while mildly impressive, sounds more like two voices racing against one another to see who can sustain their breath the longest. On Friday, Kwiecien pulled off the daunting vocal part of the duet while dancing and playing with his walking stick. His counterpart in the duet, Del Carlo, was equal to the task, resulting in an extremely rewarding display of ensemble performing. After the duet was finished, the curtain came down and both singers came back out on stage to sing the duet one more time. The fact that the encore was just as entertaining both theatrically and vocally is a testament to the commitment and artistry of these two singing actors.
Tenor Matthew Polenzani was originally scheduled to sing, but withdrew due to illness. Barry Banks, who will also be singing at the Met in a revival of Rossini’s Armida, proved to be a suitable replacement. While he relied too much on foot stomping to show Ernesto’s impetuousness, his portrayal mostly matched the energy of the other three leads. Vocally, he improved throughout the performance with the high point being reached during his final serenade “Com’è gentil.”
The Met orchestra was conducted by the legendary James Levine who received warm ovations every time he came to the podium. While he had a few uncharacteristic miscues with his singers during the aforementioned “Tornami,” his reading of Donizetti’s score was infused with vigor and levity.
The production, directed by Austrian actor and director Otto Schenk, was originally premiered in 2006. Even though opera around the world is seeking out a new identity under the banner of minimalism, symbolism and high concept theater, Schenk’s production belongs to what many would categorize (and even look down upon ) as a “traditional” production. The sets are expertly decorated with real furniture and props. The color scheme for the majority of staging is a dull red and rosy combination, which adds a subtle vibrancy to the set. The outdoor garden in Act 3, Scene 2 is lush and yet mysterious, adding to the romantic atmosphere of Ernesto’s serenade and the ensuing love duet. While Schenk revels in the opera’s silly plot by adding in a great deal of gaffes (such as Netrebko’s obnoxious Act 3 costume, which includes a long purple dress, pink tights, extreme high heels, and other great deal of eccentricities), he is careful to avoid turning the characters into caricatures. It is clear that his greatest concern is with giving his actors the space they need to create their characters comfortably and tell the story with little interference from him. What results is an enjoyable night at the opera in which the performers, the music, and the story take center stage without any philosophical or symbological distractions.
