Don Pasquale

As with Tosca the previous week, this was a lavish production. The set comprised three house fronts, double-story, which swung around at the end of the overture to become the interior of Pasquale’s house. It was very impressive.

The second scene, usually set in Norina’s home, was set outside in a street café, which worked well, although I would have preferred Malatesta to move the table away from the others while he was having a private conversation with Norina.

The four protagonists were very good. Conal Coad has been performing the title character for longer than he would readily admit, and his experience was evident. Every nuance was there and his voice was rich and expressive.

Rachelle Durkin has extensive international experience, mainly at the Metropolitan, and was delightful as Norina. Alternatively gawkish and waspish with Pasquale, she was loving and tender with her lover, Ernesto. The last act duet between the two of them was beautifully sung.

Though his top notes tightened a little, John Longmuir was convincing as the frustrated Ernesto and Samuel Dundas was a suitably conniving Malatesta. The chorus work was stunning and there were some lovely costumes, though Norina’s first outdoor outfit was unflattering.

The four protagonists blended beautifully, worked well together and the production was not just played for laughs. When Norina slaps Pasquale’s face his pain cut deep. When she threw an “expensive” vase on the floor it refused to shatter, so Malatesta stomped on it. It was very funny, and this is the exciting aspect of live theatre.

This was a very enjoyable night at the opera.

Graham Ford

Images: Conal Coad as Don Pasquale and Samuel Dundas as Dr Malatesta & John Longmuir as Ernesto and Rachelle Durkin as Norina. Photographer: Jeff Busby.