Scottish Opera’s ‘casting call’ for chihuahuas in the summer could only mean one thing: the arrival of André Barbe and Renaud Doucet to polish up their humorously entertaining production of Don Pasquale which has been delighting audiences around the world since it opened in Glasgow ten years ago.
Donizetti’s popular commedia dell’arte tale is moved to 1960s Rome where Pasquale runs a shabby pensione together with his rum staff, a chain-smoking chambermaid, a greasy cook and a porter so ancient he seems to have shrunk inside his uniform. To set the scene, an Italian 1960s-style fotomanzo is projected during the overture where we learn that Pasquale worships cats... but is allergic to them. Against his will, his nephew Ernesto wants to marry the poor widow Norina, so the elderly Pasquale plans to take a wife cutting off Ernesto’s inheritance. As the opera opens, Pasquale’s friend and physician Doctor Malatesta has a cunning master plan to teach the curmudgeon Pasquale a lesson.
The terracotta set, crowded with feline memorabilia and Pasquale’s shabby furniture, is a delight. Endless lines of washing are hoisted to reveal a terrace and a backcloth of buildings in crazy perspective, a true work of art from scenic artist Louis Guy as the windows and sky are translucent enough to allow Guy Simard’s lighting to work its night-time magic. Costumes are stylish and colourful to match the Italian sunshine, Pasquale changing out of his drab dressing gown into a smart wedding suit while his new employees are young and trendy. A lot of fun is had as Norina, disguised as Sofronia (fresh from the convent) wildly splurges Pasquale’s money, the set transforming into a stylish 1960s boutique hotel makeover.
Donizetti’s opera buffa with its heady mix of comedy and considerable score is a challenge, but Scottish Opera’s fine cast under Barbe and Doucet’s nimble direction got the comedic timing spot on with gestures, glances and amusing stage business. David Stout's Pasquale was splendidly likeable, sure in tone and projection and artfully hapless as events unfolded, the full basso buffo package. Korean baritone Josef Jeongmeen Ahn was an engagingly scheming Malatesta adding colour to the many ensemble pieces, the impossibly rapid patter numbers with Stout in the final act a deftly done highlight.
Standing in for Stacey Alleaume, fresh from a Toronto run of this production in April, Simone Osborne was a bright feisty Norina with clear coloratura and a no-nonsense attitude to Pasquale’s plight. Her relish as she took on the role of Sofronia was almost cruel as she disappeared off to the theatre on her wedding night, to Pasquale’s disgust.
Ernesto, last to be in on Malatesta’s scheme, is convinced he is losing Norina. New Zealand-Tongan tenor Filipe Manu got his share of romantic arias which he sang with a flowing relaxed easy sweetness. Only when the fake Notary, Jonathan Forbes Kennedy, filled him in did he get the joke and guffawed with laughter. His warm serenade “Com’è gentil”, with guitar and off-stage chorus, was particularly touching. There were characterful star-turn performances from the long-suffering staff, Francis Morrison-Allen as the chambermaid, Steven Faughey as the cook and Jonathan Sedgwick as the perpetually somnolent porter who all eavesdrop on the action and point up much of the comedy.
In the pit, Stuart Stratford conducted with enthusiasm, his players responding with a rousingly effervescent performance with fine woodwind and brass solos. At first, the voices struggled to cross the pit, but happily the balance settled, Stratford alive to the bel canto nuances. The chorus seemed a little uncomfortable with staged unison movements, but provided excellent heft as the new staff and guests.
The various ensembles were excellent with finely balanced singing culminating in the moral quartet as the story resolves, Pasquale at the last moment presented with Bridget the chihuahua in a cat’s costume, reprising her 2014 role. Barbe and Doucet’s witty production is a light-hearted delight which deserves to be seen as it tours Scotland.
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