Opera Scotland

Don Pasquale 2024Scottish Opera

Read more about the opera Don Pasquale

While it has to be said that none of the characters in this farcical comedy is particularly attractive, it is generally accepted as good-natured fun that eventually ends well.  Donizetti's superb musical treatment always stays on the right side of sympathy for the four well-rounded individuals. The plot is derived from the old Italian commedia dell'arte model, revised with slightly more genuine characters.

The current production, by the Canadian pairing of Renaud Doucet (director) and André Barbe (designer) was first given by Scottish Opera in 2014.  During the intervening decade it has been seen in Miami, Genoa, Vancouver and Toronto.  It is updated, as usually happens with this work, and set in a Roman guest-house.

This cast was entirely new to the staging, led by David Stout, recently an excellent Bartolo in the highly memorable Barber of Seville revival. He began in sympathetic vein, besotted with his multitude of cats.  He was made up to bear a remarkable resenblance to Pavarotti, which did no harm.

The rest of the cast was on excellent form, with three principals new to the company - an Australian soprano, Korean baritone and New Zealand Samoan tenor. Both men are veterans of the Jette Parker young artists' scheme at Covent Garden - nowadays a guarantee of their quality.  Regulars included Jonathan Forbes Kennedy making a positive impression as the bogus lawyer, while Frances Morrison-Allen, Steven Faughey and Jonathan Sedgwick all made an impression as the Pasquale household until Norina got out the chequebook. The chorus then made the most of their opportunities.

The company's music director Stuart Stratford led the sparkling musical performances, launching the superb overture with a wonderfully crisp attack.  It is good to see that Scottish Opera is continuing its policy of providing a matinee in both Glasgow and Edinburgh, as well as taking the show to Inverness and Aberdeen.  The Sunday afternoon in Edinburgh was received wuth rapture by the crowded audience.

It was a delightful surprise to see that Dame Janet Baker had returned to pay the company a visit. She looked well (at 91), but it still seemed slightly shocking to think that she retired from singing before the wonderful  Edinburgh Festival Theatre was restored to us.  Her superb Scottish Opera performances as Dorabella, both Didos (Berlioz and Purcell), Octavian, the Composer, Orfeo (Gluck) and Savitri have not been forgotten.  There were also many glorious concerts in the Usher Hall and elsewhere.