Orchester und Chor der Tiroler Festspiele Erl
Musikalische Leitung Francesco Lanzillotta
Regie Caterina Panti Liberovici
Bühne Sergio Mariotti
Dramaturgie Deborah Einspieler
Kostüme Raphaela Rose
Licht Jan Hartmann
Don Pasquale Donato di Stefano
Norina Simone Osborne
Ernesto Francisco Brito
Dottor Malatesta Danylo Matviienko
Donizetti’s references to Carlo Goldoni‘s figures from Commedia dell’arte are not to be overseen. Four figures who caricature human relationships: the ageing Don Pasquale, a true Pantalone figure, eccentric and unmarried, for whom money means everything. Nevertheless, in the last spring of his feelings he would rather like to have a wife at his side. On the other hand Ernesto and Norina cannot come together because of financial problems and depend on help from Pasquale’s good friend Dr Malatesta who devises ideas and plots. Turbulent ensembles and emotional explosions on stage are flanked by a men’s chorus until Don Pasquale is finally left on his own. Cured of selfishness, and with a certain similarity to Falstaff, he laughs benignly about the machinations of the younger generation.
Gaetano Donizetti was under great pressure of time while working together with Giovanni Ruffini in a somewhat difficult process on the libretto for Don Pasquale. Whereas the librettist wanted to cling to the glorious period of opera buffa and to old patterns and forms, the composer insisted on innovations. In this work he completed the transformation from the classical musical form to a new kind of comic opera, whose characters encounter each other in perfectly credible situations.