Concert Review | COC’s Don Pasquale a Long Overdue Delight

The Canadian Opera Company opens its spring season with Gaetano Donizetti’s Don Pasquale, last performed by the COC 30 years ago. This new production is reimagined by acclaimed director-designer duo Barbe & Doucet, and is set in 1960s Rome with the colourful backdrop of Il Pensione Pasquale. Laundry sheets cleverly serve as scene dividers, and the off-kilter building allude to the haphazardness of the opera’s plot.

Some new comical elements were added to enhance this opera buffa: Pasquale is obsessed with cats but is ironically allergic to them, hence the multitude of neon green cat figurines scattered around the set – and let’s not forget the quirky old porter, whose every move drew scores of laughter.

A scene from the Canadian Opera Company’s production of Don Pasquale, 2024. Photo: Michael Cooper

The Story:

Don Pasquale is a generational battle of wits and wills. Despite the convoluted plot, the opera has only four main characters. Much of the background story is told during the overture, cleverly projected on screen as a fotoromanzo (photo-novel).

Pasquale is an aging bachelor who intends to pass his fortune to his nephew Ernesto, provided he marries a rich woman of his choice. Ernesto refuses, as he is already in love with Norina, a young (and poor) widow. Pasquale disinherits him, drives him out of the house, and decides to find a wife for himself.

Malatesta (coincidentally meaning “headache” in Italian), Pasquale’s doctor and Ernesto’s friend, devises a scheme to trick the old man, help Ernesto marry his true love and keep the family fortune. He introduces his own sister, Sofronia (actually Norina in disguise) – supposedly a demure woman fresh out of the convent – to Pasquale, who is instantly smitten. After they are married in a fake ceremony, Sofronia immediately turns into a defiant and squandering wife, constantly disobeying and berating her husband.

Now finding himself in misery, Pasquale wants out of the marriage. Desperate for Malatesta’s help, Pasquale agrees to his plan: allow Ernesto and Norina to marry and move back into the house. Appalled by this arrangement, Sofronia announces that she would rather leave than live under the same roof as another woman. Pasquale is relieved that he is finally free of her. The truth is revealed, all is forgiven, and everyone lives happily ever after: Ernesto with Norina, and (spoiler alert!) Pasquale with his new furry friend.

What you missed:

Georgian baritone Misha Kiria, who makes his COC debut in this production, is perfect in the titular role. Mighty in both physical stature and voice, he has a commanding presence from the beginning and brings theatrical life to the curmudgeon. Canadian Joshua Hopkins is a rich and full-bodied baritone with a comic flair as Malatesta. Together with Kiria, their “Cheti cheti immantinente”, a patter song sung at breakneck speed, is a true testament to their vocal agility.

Misha Kiria as Don Pasquale and Joshua Hopkins as Dr. Malatesta in the Canadian Opera Company’s production of Don Pasquale, 2024. Photo: Michael Cooper

Soprano Simone Osborne (Norina) and Argentinian Tenor Santiago Ballerini (Ernesto) are two lovers with well-matched vocal prowess. Osborne, a COC Ensemble Studio alumnus, has a shimmering warmth especially in the upper register, and brings the right amount of sass to her character. Her transformation from a timid kitten to a capricious tigress, along with her subtle feline gestures, are hilarious to watch.

Osborne’s “Quel guardo di cavaliere” is the ultimate showcase of her versatile coloratura and great control of her instrument. She totally owns the stage in the final scene, in which she reveals the moral of the story. Ballerini has a creamy, alluring voice. His Act III serenade, “Com’ è gentil,” is filled with gentle yearning. This is bel canto at its best, only topped by the sublimely tender lover’s duet (“Tornami a dir che m’ami”) that follows.

Santiago Ballerini as Ernesto and Simone Osborne as Norina in the Canadian Opera Company’s production of Don Pasquale, 2024. Photo: Michael Cooper

Despite only making a brief appearance, the COC Chorus is lively and engaging, and sounded superb in the sotto voce gossip scene. Conductor Jacques Lacombe led the COC orchestra in a fiery rendering of Donizetti’s demanding score, which aptly complemented the vocal fireworks.

This delightfully fresh and funny production is a feast to the eyes and ears. Don Pasquale is long overdue in Toronto, and hopefully we won’t need to wait another 30 years to see it again.