Don Pasquale
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What is 'Don Pasquale'?
Don Pasquale is an Italian opera buffa (comic opera) in three acts by Gaetano Donizetti, with an Italian libretto by Donizetti and Giovanni Ruffini. Its debut was at the Théâtre Italien in Paris on January 3, 1843.
Like Gioachino Rossini’s The Barber of Seville, Don Pasquale is an example of Italian opera buffa, filled with bright vocal writing and skillful depiction of plot and character. The opera is set in Rome in the mid-19th century. The characters include:
- Don Pasquale, an elderly bachelor (bass)
- Dr. Malatesta, Don Pasquale’s physician and friend (baritone)
- Ernesto, Don Pasquale’s nephew (tenor)
- Norina, a young widow, engaged to Ernesto (soprano)
- A notary, valets, chambermaids, majordomo, dressmaker, hairdresser (bass)
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Who composed 'Don Pasquale'?
Don Pasquale is an opera buffa (comic opera) in three acts by Italian composer Gaetano Donizetti with an Italian libretto by Donizetti and Giovanni Ruffini. Don Pasquale premiered at the Théâtre Italien in Paris on January 3, 1843.
Donizetti composed Don Pasquale very quickly and chose the cast from the most famous singers of the time. He knew their dramatic and vocal abilities and trusted them with challenging material.
Don Pasquale is a comic opera and a staple in opera houses around the world. Like Gioachino Rossini’s The Barber of Seville, Don Pasquale epitomizes Italian opera buffa.
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What type of story does 'Don Pasquale' tell?
Don Pasquale is an opera buffa (comic opera) set in Rome in the mid-19th century. The story revolves around the elderly Don Pasquale, who enlists Dr. Malatesta to find a wife to produce heirs and disinherit his nephew, Ernesto. Malatesta, also a friend of Ernesto, presents Pasquale with his supposed sister, Sofronia. Pasquale is overjoyed, but Ernesto is dismayed, as he loves Norina and was counting on inheriting Pasquale’s fortune to marry her.
However, Malatesta is plotting against Don Pasquale with Norina, who will pretend to be Sofronia and marry Pasquale under a false contract. The plan is for Norina to drive Pasquale crazy, leading him to want to get rid of her. This comedic opera is filled with bright vocal writing and skillful character depictions, typical of the opera buffa genre.
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Who are the main characters in 'Don Pasquale'?
Don Pasquale is an opera buffa featuring several key characters. The main characters are:
- Don Pasquale: An elderly bachelor who desires to produce heirs.
- Dr. Malatesta: Don Pasquale's physician and friend, who is also involved in a plot against him.
- Ernesto: Don Pasquale's nephew, who is in love with Norina.
- Norina: A young widow engaged to Ernesto, who pretends to be Malatesta's sister to trick Don Pasquale.
These characters drive the comic plot forward with their interactions and schemes in mid-19th century Rome.
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When and where was 'Don Pasquale' first performed?
Don Pasquale, a comic opera in three acts by Gaetano Donizetti, premiered at the Théâtre Italien in Paris on January 3, 1843. The opera is set in Rome in the mid-19th century and tells the story of the elderly Don Pasquale and his rebellious nephew, Ernesto. The premiere was a success, and within the year, it was performed in Europe's great opera houses.
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Why is 'Don Pasquale' considered an important comic opera?
Don Pasquale, a comic opera (opera buffa) in three acts by Gaetano Donizetti, premiered in Paris in 1843 and has remained a staple in opera houses worldwide. The opera embodies the characteristics of the Italian opera buffa, much like Gioachino Rossini’s The Barber of Seville. Don Pasquale is known for its bright, colorful vocal style and skillful depiction of character and plot. Donizetti was known for his ability to please audiences.
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Don Pasquale, opera buffa (comic opera) in three acts by Italian composer Gaetano Donizetti (Italian libretto by Donizetti and Giovanni Ruffini) that premiered at the Théâtre Italien in Paris on January 3, 1843. As a masterpiece of comic opera, Don Pasquale remains a staple of the world’s opera houses.
Background and context
Don Pasquale was composed very quickly, as were many of Donizetti’s operas. The cast was handpicked from the most famous singers of the day, and Donizetti had worked with them before. He knew their vocal and dramatic abilities, and he clearly trusted them with challenging material, for, though Don Pasquale is a buoyant delight for the audience, it is formidable work for the performers.
The premiere was a smashing success, and before the year was out Don Pasquale would be heard in the great opera houses of Europe. It was the last triumph that the composer would remember. Of the five years of life that remained to him, he spent most of the time in asylums. Only two other operas followed, bringing his career total to more than 60.
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Don Pasquale, like Gioachino Rossini’s The Barber of Seville, epitomizes Italian opera buffa. Both operas are filled with bright and colourful vocal writing and skillful depiction of plot and character. The characters derive from types that were common in the many comic operas of the period: a clever leading lady, her winsome admirer, an old buffoon who hopes to outwit them, and a conniving fellow who takes the side of the young lovers. Donizetti was a master at pleasing his audiences, then and now.
Cast and vocal parts
Setting and story summary
Don Pasquale is set in Rome in the mid-19th century.
Act I
Scene 1. A room in Don Pasquale’s house.
The elderly Don Pasquale is waiting impatiently for Dr. Malatesta, whose help he has enlisted in finding a wife so that he can produce direct heirs and disinherit his rebellious nephew, Ernesto. Malatesta, who is also a friend of Ernesto’s, arrives and tells Don Pasquale of the beautiful, pure young woman he has found for him—supposedly Malatesta’s own sister, “Sofronia.” Pasquale is delighted; Malatesta, as he leaves, promises to bring her the next day. Pasquale cannot contain his joy and fantasizes about the half-dozen children he will have with her (“Ah! un foco insolito”).
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Ernesto enters and Pasquale confronts him, reminding the young man that he had been advised to marry a certain wealthy lady; Ernesto knew that if he refused, he would be disinherited. Ernesto acknowledges this but refuses to comply, for he is in love with Norina, whom Pasquale considers unworthy. Pasquale, reporting that he has plans to marry, orders Ernesto to find another place to live. Ernesto, who has been counting on inheriting Pasquale’s fortune in order to be able to marry Norina, is astounded and dismayed. To avoid keeping Norina in poverty and misery, Ernesto decides to give her up. In a last-ditch effort he asks Pasquale to consult their mutual friend Malatesta. But Pasquale tells him that Malatesta heartily approves of the older man’s decision to marry, for his bride-to-be is none other than Malatesta’s sister. Ernesto is devastated.
Scene 2. Norina’s house.
As Norina sits in her garden reading, she laughs at the wiles of the women in the novel and contrasts their cunning with her own (“So anch’io la virtù magica”). A letter from Ernesto arrives just as Malatesta comes in, chortling over his plot against Don Pasquale. But Norina is not amused, for Ernesto has written a sorrowful farewell to her. Malatesta promises to let Ernesto in on the secret: Norina, pretending to be Malatesta’s sister “Sofronia,” will marry Pasquale—under a false contract prepared by Malatesta’s cousin, who will play the part of the notary. The new wife will drive Pasquale so crazy that he will be desperate to get rid of her. Norina agrees on the condition that she will not lose Ernesto in the process. Malatesta assures her that Ernesto will benefit from the plan as well. He instructs her to play the part of a simple, shy country girl. The two are thrilled with the plot, especially Norina, who wants revenge for Pasquale’s refusal to let Ernesto marry her.