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Gaetano Donizetti - Don Pasquale - OPERA

Donizetti's references to Carlo Goldoni's figures in the Commedia dell'arte - four figures that caricature human togetherness - are unmistakable: The aging Don Pasquale, a real Pantalone character, quirky and unmarried, has money above everything. He would still like to have a wife at his side in the last spring of his feelings. Besides, Ernesto and Norina cannot get together due to a lack of money and are dependent on the help of Pasquale's confidant Doctor Malatesta, who knits his intrigues as an idea giver and playmaker. Turbulent ensembles and emotional outbursts are flanked on stage by a men's choir until Don Pasquale is finally left alone. Cured of egoism, he, not unlike Falstaff, smiles with a good face at the evil play of the younger ones.

Together with Giovanni Ruffini, Gaetano Donizetti worked on the textbook of Don Pasquale in great time pressure and in a sometimes difficult process. While the librettist wanted to refer to the heyday of opera buffa and cling to old patterns and forms, the composer pushed for innovations and with this work he completed the change from the classical musical form to a new kind of buffa, whose characters meet each other with great credibility.

"Deborah Player"
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Gaetano Donizetti - Don Pasquale - OPERA - Erl

Donizetti's references to Carlo Goldoni's figures in the Commedia dell'arte - four figures that caricature human togetherness - are unmistakable: The aging Don Pasquale, a real Pantalone character, quirky and unmarried, has money above everything. He would still like to have a wife at his side in the last spring of his feelings. Besides, Ernesto and Norina cannot get together due to a lack of money and are dependent on the help of Pasquale's confidant Doctor Malatesta, who knits his intrigues as an idea giver and playmaker. Turbulent ensembles and emotional outbursts are flanked on stage by a men's choir until Don Pasquale is finally left alone. Cured of egoism, he, not unlike Falstaff, smiles with a good face at the evil play of the younger ones.

Together with Giovanni Ruffini, Gaetano Donizetti worked on the textbook of Don Pasquale in great time pressure and in a sometimes difficult process. While the librettist wanted to refer to the heyday of opera buffa and cling to old patterns and forms, the composer pushed for innovations and with this work he completed the change from the classical musical form to a new kind of buffa, whose characters meet each other with great credibility.

"Deborah Player"

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