Don Pasquale - Schedule, Program & Tickets
Don Pasquale
musical direction
Marco Armiliato
staging
Irina Brook
stage
Noëlle Ginefri-Corbel
costumes
Sylvie Martin-Hyszka
Light
Arnaud Jung
choreography
Martin Buczko
Don Pasquale
Ambrogio Maestri
ernesto
Levy Sekgapane
Malatesta
Stefan Astakhov
norina
Nina Minasyan
It is one of the most well-known comedies in the world: Here the elderly bachelor, concerned about preserving his assets, who wants to slip into the role of the lover again. There the young woman who cleverly leads him by the nose. In Don Pasquale, Donizetti skillfully opened up this framework for action: the opera is burlesque, but also timelessly valid as a confrontation between patriarchal desires and youthful self-determination. Director Irina Brook brings the comedy into the present, leading it rapidly into an exaggerated, candy-colored finale in which laughter is intended - but never just laughed at.
The plot
The old, wealthy but miserly bachelor Don Pasquale wants to marry his nephew Ernesto: to a wealthy woman. But Ernesto prefers the young, penniless widow Norina, who loves him. Although Don Pasquale has never seen Norina, he rejects this marriage - and without further ado chases Ernesto out of the house. Dejected, he writes a farewell letter to his beloved Norina. But Norina doesn't give up on Ernesto. Don Pasquale's new plan is to get married himself - and his friend Dr. Malatesta is supposed to help him. However, he sticks to Ernesto and threads a confusing game in which Norina and Ernesto play along: Norina is presented to the old bachelor as Malatesta's well-bred sister Sofronia, who grew up in a monastery. Don Pasquale is smitten with this quiet, virtuous creature—and enters into a marriage of convenience (which Don Pasquale believes to be real) staged by Malatesta. Immediately after the wedding, Sofronia (=Norina) changes her behavior. She becomes a wasteful, loveless, flippant xanthi who terrorizes Pasquale and—apparently—cheats on him. In order to drive her out of the house again, Don Pasquale wants his nephew Ernesto, equipped with a rich dowry, to marry Norina (still apparently unknown to him) and take him in with him. Then the true identity of Sofronia is revealed to him. He has to learn: Older students shouldn't court younger women...
Subject to change.
Marco Armiliato
staging
Irina Brook
stage
Noëlle Ginefri-Corbel
costumes
Sylvie Martin-Hyszka
Light
Arnaud Jung
choreography
Martin Buczko
Don Pasquale
Ambrogio Maestri
ernesto
Levy Sekgapane
Malatesta
Stefan Astakhov
norina
Nina Minasyan
It is one of the most well-known comedies in the world: Here the elderly bachelor, concerned about preserving his assets, who wants to slip into the role of the lover again. There the young woman who cleverly leads him by the nose. In Don Pasquale, Donizetti skillfully opened up this framework for action: the opera is burlesque, but also timelessly valid as a confrontation between patriarchal desires and youthful self-determination. Director Irina Brook brings the comedy into the present, leading it rapidly into an exaggerated, candy-colored finale in which laughter is intended - but never just laughed at.
The plot
The old, wealthy but miserly bachelor Don Pasquale wants to marry his nephew Ernesto: to a wealthy woman. But Ernesto prefers the young, penniless widow Norina, who loves him. Although Don Pasquale has never seen Norina, he rejects this marriage - and without further ado chases Ernesto out of the house. Dejected, he writes a farewell letter to his beloved Norina. But Norina doesn't give up on Ernesto. Don Pasquale's new plan is to get married himself - and his friend Dr. Malatesta is supposed to help him. However, he sticks to Ernesto and threads a confusing game in which Norina and Ernesto play along: Norina is presented to the old bachelor as Malatesta's well-bred sister Sofronia, who grew up in a monastery. Don Pasquale is smitten with this quiet, virtuous creature—and enters into a marriage of convenience (which Don Pasquale believes to be real) staged by Malatesta. Immediately after the wedding, Sofronia (=Norina) changes her behavior. She becomes a wasteful, loveless, flippant xanthi who terrorizes Pasquale and—apparently—cheats on him. In order to drive her out of the house again, Don Pasquale wants his nephew Ernesto, equipped with a rich dowry, to marry Norina (still apparently unknown to him) and take him in with him. Then the true identity of Sofronia is revealed to him. He has to learn: Older students shouldn't court younger women...
Subject to change.
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