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Chan 3011(2) CHANDOS O PERA IN ENGLISH

David Parry

AndrewAndrew London Philharmonic Orchestra ShoreShore David Parry PETE MOOES FOUNDATION CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 2

Gaetano Donizetti (1797–1848) AKG buffa in three acts, text by Giovanni Ruffini and the composer, after A. Anelli

English translation by David Parry

Don Pasquale, an elderly bachelor ...... Dr Malatesta, friend of Don Pasquale, and good friend of Ernesto ...... Jason Howard baritone Ernesto, Don Pasquale’s nephew ...... Norina, a young widow...... Lynne Dawson soprano A Notary ...... Clive Bayley

Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok • Brad Cohen assistant conductors David Parry conductor

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COMPACT DISC ONE TT 54:49 [p. 00] 12 ‘Ah! The fates have conspired to thwart me’ 2:45 [p. 59] Ernesto, Don Pasquale 1 Overture 6:24 [p. 54] No. 3: Cavatina Act I 13 ‘With just one glance she pierced him’ 2:14 [p. 59] No. 1: Introduction 35:26 [p. 54] Norina 2 ‘Nine already’ 1:54 [p.54] 14 Don Pasquale ‘I too have seen how magical’ 4:03 [p. 59] Norina 3 ‘May I join you’ 1:14 [p. 54] Malatesta, Don Pasquale No. 4: and . Finale I 4 ‘Down from among the angelic host’ 3:12 [p. 54] 15 ‘Still no sign of the doctor!’ 2:39 [p. 60] Malatesta, Don Pasquale Norina, Malatesta 5 ‘She is my sister!’ 1:16 [p. 55] 16 ‘I’ll find a way, on one condition’ 3:09 [p. 61] Malatesta, Don Pasquale Norina, Malatesta 6 ‘Ah! Quite unexpectedly passions inflame me’ 2:09 [p. 56] 17 ‘Am I to be haughty?’ 1:50 [p. 61] Don Pasquale Norina, Malatesta

18 No. 2: Recitative and Duet ‘Onwards, upwards’ 3:30 [p. 62] Norina, Malatesta 7 ‘I’m a new man’ 2:43 [p. 56] Don Pasquale, Ernesto 8 ‘Getting married?’ 1:47 [p. 57] Act II Ernesto, Don Pasquale No. 5: Prelude and 35:26 [p. 54] 9 ‘Never again shall I find you’ 2:40 [p.58] 19 ‘Poor, lost Ernesto!’ 4:04 [p. 63] Ernesto, Don Pasquale Ernesto 10 ‘There’s one thing I must say briefly’ 1:05 [p. 58] 20 ‘I shall go, no more returning’ 2:24 [p. 63] Ernesto, Don Pasquale Ernesto 11 ‘…is his own sister’ 0:16 [p. 58] 21 ‘And if you ever encounter’ 3:21 [p. 63] Don Pasquale, Ernesto Ernesto

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COMPACT DISC TWO TT 72:13 [p. 00] Act III No. 6: Scene and Trio No. 8: Introductory Chorus 35:26 [p. 54] 12 1:15 [p. 76] 1 ‘After you have shown in Doctor Malatesta’ 1:40 [p. 63] ‘Bring the diamonds, quickly!’ Don Pasquale Servants, Don Pasquale 2 ‘Don’t be frightened, just believe me’ 4:22 [p. 64] Malatesta, Norina, Don Pasquale No. 9: Recitative and Duet 35:26 [p. 54] 13 ‘Let’s see now: to the dress shop’ 1:52 [p. 76] No. 7: Scene and Quartet. Finale II 35:26 [p. 54] Don Pasquale 3 ‘There’s no need to be frightened’ 2:52 [p. 65] 14 ‘Well good evening! You’re in a hurry’ 2:56 [p. 77] Malatesta, Norina, Don Pasquale Don Pasquale, Norina 4 ‘Heaven preserve me!’ 1:42 [p. 66] 15 ‘It is over, Don Pasquale’ 3:30 [p. 77] Don Pasquale, Malatesta, Norina Don Pasquale, Norina 5 ‘Agreement between the… etcetera’ 2:57 [p. 67] 16 ‘My husband, my sweetest’ 2:43 [p. 78] Malatesta, Notary, Don Pasquale Norina, Don Pasquale 6 ‘You idiots, let me through here’ 2:05 [p. 69] Ernesto, Norina, Malatesta, Don Pasquale No. 10: Recitative 35:26 [p. 54] 7 ‘So let the marriage contract be finalized at once’ 1:32 [p. 70] 17 ‘Another bill for bonnets or for ribbons’ 1:27 [p. 78] Malatesta, Notary, Norina, Don Pasquale, Ernesto Don Pasquale 8 ‘A man of such decrepitude’ 1:31 [p. 71] 18 ‘Everyone endlessly coming and going!’ 3:50 [p. 79] Norina, Don Pasquale, Malatesta, Ernesto Servants 9 ‘I’ve used persuasion first’ 3:34 [p. 71] Norina, Malatesta, Don Pasquale, Ernesto No. 11: Recitative and Duet 35:26 [p. 54] 10 ‘I wish to see the servants’ 2:46 [p. 72] 19 ‘We’re agreed then’ 1:05 [p. 79] Norina, Don Pasquale, Malatesta, Ernesto Malatesta, Ernesto 11 ‘I’ve been cheated and disparaged’ 2:28 [p. 74] 20 ‘Don Pasquale…’ 3:32 [p. 80] Don Pasquale, Ernesto, Norina, Malatesta Malatesta, Don Pasquale

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21 ‘No more words, not even whispers’ 3:59 [p. 81] Don Pasquale, Malatesta Gaetano Donizetti: Don Pasquale 22 ‘What a disaster, my little schemer’ 2:35 [p. 82] Don Pasquale, Malatesta Among my first operatic experiences, all of passage of patter singing. Even today I await fifty years ago, were performances (I went in eager anticipation this inspired piece of No. 12: Serenade and Nocturne 35:26 [p. 54] twice) of Donizetti’s Don Pasquale at London’s duetting. 23 ‘The night is calm’ 4:06 [p. 84] Cambridge Theatre. The great Mariano Stabile But then Pasquale is a wonderful work in Ernesto, Chorus was Doctor Malatesta, the delightful Alda absolute terms, a perfect marriage of comedy 24 ‘Come, say the words I long for’ 3:29 [p. 84] Noni was Norina, and a hitherto unknown and sentiment from a musical master of both Norina, Ernesto British bass, Martin Lawrence, took the title genres. In it ’s most noted son delights part. Lawrence did his best in Italian, but even the ear as one inspired number follows another. No. 13: Scene and Rondo. Finale III 35:26 [p. 54] my youthful self felt Lawrence would be Solos, and ensembles carry forward the 25 ‘Here they are! Ready to pounce?’ 3:16 [p. 85] happier singing his role in English, and – tale with irresistible energy and invention, fun Don Pasquale, Malatesta, Norina much as I enjoyed the work (who could do and depth of feeling imperceptibly merged. 26 ‘Here I am’ 1:21 [p. 87] otherwise?) – I would have preferred to be The story of the gulling of old Pasquale to Ernesto, Malatesta, Norina, Don Pasquale hearing the piece in the vernacular: that way, as teach him a lesson certainly has its crueller a newcomer to opera, I would have enjoyed the side; indeed just as ‘Sofronia’, Norina in 27 ‘Let’s forget everything’ 3:41 [p. 87] detail of the comedy rather than being amused disguise, who has ‘married’ the old buffer, is at Don Pasquale, Malatesta, Norina, Ernesto, Servants in a more generalized way. Later, the work was her most shrewish, she realizes the heartless given by Sadler’s Wells Opera and the minutiae teasing has gone too far, and all through of the plot at last became clear. But Pasquale Donizetti makes Pasquale, for all his foolish was so popular at the Cambridge that desire to be an elderly husband of a young Columbia issued a 78rpm disc of the woman, a fundamentally sympathetic Act III Malatesta/Pasquale duet, which in the character; so that while we laugh at him we theatre always had to be repeated – not also sympathise with his folly. In spite of their surprising as it is one of the high points, not heartlessness we cannot but derive pleasure only of this score but also of all , from the machinations of Malatesta and baritone and bass outdoing each other in Norina because they are themselves such speed and nimble articulation in the final delightful characters. Then, in some of the

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most plangent music Donizetti ever wrote for taken Donizetti not more than eleven days, but premiere in on 4 January 1843 (the best for it.’ Whatever the cause, the work was his , he makes Ernesto, apparently it is probably nearer the mark to say that it was Italian premiere followed, at , on an immediate success in , and very soon its abandoned by his beloved Norina, pour out his written over a period of three months from 17 April). And what a cast that first popularity spread to all the opera houses of the heart in two soulful . October 1842. Even so, the composer later performance enjoyed: as Norina, world – in May 1843, for which the How surprising then that this astonishing wrote that ‘the opera cost the immense fatigue Matteo Mario as Ernesto, composer added that soon-to-be-famous opera should be the work of a composer of eleven days’, probably referring to the as Malatesta and as Pasquale, all ‘Cheti, cheti immantinente’ (No more words, already exhausted and in a mood of achievement of a ground-plan of composition. at the height of their fame. Mario and Grisi, not even whispers) duet, London the same melancholy. Pasquale, written in 1843, is He was undoubtedly helped by the fact that he man and wife, he handsome, she charming. month with the cast of the premiere, and New among the last of the sixty-odd was adapting a deal of music that he had Tamburini, by all reports, was as accomplished York in May 1846. In this century there have Donizetti composed. Two years after its written for other contexts, but he had the wit an actor as he was a singer. As for Lablache, he been a famous Metropolitan revival in 1904 completion he was paralysed; by 1848 he was and guile to incorporate them seamlessly into was probably the most noted basso of his featuring Caruso as Ernesto, 1904 dead. Yet, even in his already morbid state, he the new context, something of course Handel century, one whom the British critic Chorley performances at La Scala with Sobinov as was able to conjure up this masterpiece, a had also been adept at. described as ‘taking him all for all, the most Ernesto and Giuseppe De Luca as Malatesta, town-cousin to the equally inspired country Donizetti was born, in 1797, in humble remarkable man I have ever seen in opera’. In a 1905 revival at Covent Garden with Maurel comedy of L’elisir d’amore (The Elixir of Love) circumstances, his grandfather and father this role of Pasquale, the same writer referred (the first ) as Malatesta, and a notable of 1832. Even more remarkable is the fact that labourers in the textile industry. The young to him as ‘the dear silly hero of the farce-opera’ Glyndebourne staging in 1938 with Stabile he partially fashioned his own for the Gaetano showed musical talent and seemed and one who always avoided grossness or as Malatesta and as Ernesto. opera in collaboration with Giovanni Ruffini. destined to be a musician in the service of the coarse imitation, reminding us that the role Since the war, besides the Cambridge Theatre It is derived from a forgotten work, called Church, but the youth’s mind was set on more should never be clowned. revival, the work has been in the repertory Ser Marcantonio, produced in in 1810 secular matters, namely a career in the theatre. Donizetti wanted the work performed in everywhere. for which Angelo Anelli wrote the libretto. His teachers were Giovanni Simone Mayr, contemporary costume, but the cast was In this late work Donizetti has added to his Donizetti sensibly and drastically reduced and himself a prolific composer of opera, and against this; so was the supposed co-librettist melodic and rhythmic gifts a new element of simplified the complex story he inherited from Mattei with whom he worked at . Ruffini, who was convinced the action was far more advanced harmony in terms of subtle Anelli, allowing him, as the distinguished critic Donizetti’s first opera was written as early as more suited to ‘wigs and velvet breeches’. modulation; he had also learnt to extend his Ernest Newman once put it, to give the 1818 when he was twenty-one. From then he Donizetti, as was the case ten years later with numbers and vary them with a new-minted composer ‘more opportunity to expand the worked swiftly and prolifically, composing Verdi and La traviata, was forced to give way. inspiration that keeps the ear continually alert, simple musical forms and to extract the last between two and five operas a year, though he Donizetti, typically modest, later wrote to the nowhere more so at the point in the ounce of humorous expression out of each did not achieve real fame until 1830 with publisher Ricordi: ‘Don’t imagine that the Pasquale/Norina duet in Act III when Norina situation’. . success was due to my music alone; they [the suddenly realizes that she has gone too far with The task of composition is said to have Pasquale has been popular ever since its singers] all vied with each other in doing their her new ‘groom’. Having slapped him, she 10 11 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 12

repents of her action singing in the relative (Poor, lost Ernesto… I shall go, no more work concerns the recitative: nowhere is a Synopsis major to Pasquale’s pathetic comments in returning… And if you ever…)), he makes up keyboard used, the composer preferring A minor (‘E’ duretta la lezione’ (I chastise his mind to seek fortune elsewhere. It is a fluctuating string chords. That makes for a Act I him far from gladly)). This relieves the comedy splendidly varied scene for a lyric tenor calling much more fluent melding of dialogue with Scene 1 of the slightly heartless mood created by for tonal nuance and vocal dexterity (as Tito numbers. Indeed the work has the feeling of Don Pasquale, a rich but ageing bachelor, has Norina’s antics in turning Pasquale’s household Schipa provided in the pioneering 1930s being written as a single flight of inspiration decided to marry. Pasquale had proposed to upside down after earlier pretending that recording of the opera). and imagination. make his nephew Ernesto his heir, if he would Sofronia was timid girl just out a convent. Finally in Act III Ernesto finds happiness What else? The overture lets us hear in only make a suitable marriage. However, Indeed as one Donizetti scholar put it : it is and sings the most delicate of Serenades advance several of the delightful melodies Ernesto refuses as he is in love with the ‘Norina’s capacity for tenderness that keeps her ‘Com’è gentil’ (The night is calm), to the distributed throughout the opera. It forms a impoverished Norina. sense of humour within the bounds of good accompaniment of chords on a guitar and with nicely anticipatory feeling for the events to Pasquale will beget his own son and heir, taste’. an unseen chorus adding atmosphere to the come. The chorus is used fastidiously, as and he has asked his friend Dr Malatesta to Pasquale himself is a fairly typical buffo tenor’s seductive singing. This is followed by a observant servants, most tellingly in Act III supply a suitable bride. Malatesta arrives to character, whose music is for the most part of nocturne-duet in intertwining thirds and sixths first in a chorus where they attempt to cope announce his choice, an innocent and convent- the parlando-patter vein. Malatesta is more with his beloved Norina, ‘Tornami a dir’ with the mass of new goods that Norina has bred young girl, beautiful as an angel, indeed mercurial, changing character as the plot (Come, say the words I long for), the loving introduced into Pasquale’s dwelling, then in a his own sister. Pasquale demands an immediate demands. Nowhere is his music more pair duetting in the bosky shade of Pasquale’s charming piece in which they comment on the meeting, and left alone expresses an irrepres- adaptable than in his Act I duet with Norina garden. These last numbers may be more strange goings-on in the house. Donizetti sible enthusiasm to father a large family. when he rehearses her for her part in fooling conventional in compositional terms, but in never writes a dull number as these choruses Ernesto finds his uncle’s ambition at first Pasquale, the writing following every nuance of the context of the opera as a whole, they form prove. risible, then alarming for his own prospects, the pair’s thinking. Norina herself announces the perfect contrast to the comic antics of the Don Pasquale is the summation of a genre and is shocked to hear that Malatesta has herself in a vivid two-part aria, which patter duet, already referred to, ‘Cheti, cheti, that had lasted for more than a hundred years. betrayed him in suggesting his own sister as unerringly delineates her personality; so does immantinente’ (No more words, not even Verdi’s Falstaff, written fifty years later, Pasquale’s bride. Ernesto’s ‘Sogno soave e casto’ (Never again whispers) for Malatesta and Pasquale. obviously owes a debt to Donizetti but by that shall I find you), where his sad dream of Donizetti avoids convention in not writing time, opera composition had moved on. Now Scene 2 happiness seems to elude him as Pasquale large-scale finales. Act I ends with the we can see and hear that Pasquale is an end not In another part of the city Norina is browsing prepares to marry, depriving him apparently of aforementioned duet for Norina and a beginning, but a work above all to be enjoyed through a romantic book, but she concludes his inheritance. Then in his recitative, aria and Malatesta, Act II closes with a well-varied for its abundance of invention and character. that she hardly needs guidance in such matters. cabaletta at the start of Act II (‘Povero quartet for the principals, Act III with a happy- She learns by letter that Ernesto has been Ernesto!… Cercherò lontana terra… E se fia’ ending sextet. Another novelty in this kind of © 1998 Alan Blyth deprived of his inheritance and plans to leave 12 13 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 14

Rome. Malatesta arrives, reassuring Norina, demands of her new husband that Ernesto be Pasquale decides to rid himself of his new Vancouver and Hamburg. His recordings and explains his plan for her to impersonate his retained in the house; she will require new and wife, but she refuses to be so easily dismissed. include The Barber of , and own sister in a mock marriage with Pasquale. better-paid servants; the house needs Malatesta offers a solution, provided he has a La bohème (for Chandos/Peter Moores Pasquale knows that Malatesta’s sister lives in a redecorating. Pasquale feels he has been free hand, to which Pasquale readily agrees. He Foundation), and The Makropulos Affair. convent, but has never met her. Malatesta betrayed, and is filled with confusion. summons Ernesto from the house, and tells rehearses Norina in her new role. him that his uncle has consented to him Jason Howard is a graduate of Trinity College Act III marrying Norina, and will give him a large of Music and the Royal College of Music Opera Act II Scene 1 allowance. Pasquale resignedly asks Ernesto to School. An outstanding performer, his Scene 1 The newly hired servants and workmen are send for his bride. But she is already present. appearances with Scottish Opera and Opera Ernesto resolves to seek solace in a distant land. turning the house inside out. Pasquale is Pasquale awakens to the deception played North have generated unanimous critical He swears that he would forgive Norina, were appalled at the bills. When ‘Sofronia’ enters upon him, and forgives the young couple. acclaim. He has sung the title roles in she to find happiness with a new lover. dressed up to go out for the evening, he asks Marriage is a good thing, but not for an old and Le nozze di Figaro (Scottish her where she is going. ‘To the theatre’ she man. Opera), the title role in (Opera Scene 2 replies. When he upbraids her, she slaps his North), Ned Keene (Peter Grimes) for English Malatesta presents the disguised Norina to face. Pasquale’s world crumbles. National Opera and the title role in Eugene Pasquale as his sister Sofronia. She feigns As she leaves she drops a letter of assignation Andrew Shore is now acknowledged as Onegin for . He has also fear at meeting a man, and meekly answers from an anonymous lover seeking a meeting Britain’s premier buffo baritone. Since making appeared in Seattle, Geneva, Nantes, and with Pasquale’s questions about her sheltered that evening in the garden. Pasquale summons his debut in 1988 Stuttgart Opera and the Opéra de la Bastille. life. When Malatesta insists on her revealing help from his friend Malatesta. The servants roles there have included Falstaff, Dieg (in Jason Howard’s concert appearances include her face, Pasquale is overwhelmed by her comment on the strange goings-on in the ’s The Making of the Representative Mahler’s Eighth Symphony, Elgar’s The beauty. house. for Planet 8), Papageno (The Magic Flute), Kingdom and concert performances of Berlioz’s The ‘notary’ is brought in at Malatesta’s Malatesta arrives and advises Pasquale on an Monsieur Calcul (La belle Vivette), Don Les troyens. His recordings include The Student bidding, and they draw up a marriage contract. appropriately discreet course of action. Pasquale and . He has worked Prince, Song of Norway and A Little Night A second witness is needed, at which point the Together they will steal into the garden, catch for all the major British opera companies, Music. distraught Ernesto bursts in and is pressed into the lovers and exact revenge. including , , service. He recognizes Pasquale’s bride as Scottish Opera, Glyndebourne Festival Opera, A graduate of the Royal Northern College of Norina, but at Malatesta’s insistence signs the Scene 2 and Welsh National Opera, as well Music where he was a Peter Moores scholar, contract. Ernesto serenades his Norina and the lovers are as appearing abroad with New Israeli Opera, Barry Banks has established himself as one of Now that the ceremony is accomplished, reunited. Pasquale and Malatesta surprise San Diego Opera, the Opéra comique, Paris, the finest tenors of his generation. Appearances ‘Sofronia’ quickly changes her character. She them. Ernesto escapes. and in Lyon, Nantes, Montpellier, Amsterdam, include Tamino (Die Zauberflöte) at the 14 15 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 16

Salzburg Festival, and for Leipzig Mendelssohn’s Midsummer Night’s Dream and have recorded fifteen operas, and it is currently has been the founding Music Director of the Opera, Nemorino (L’elisir d’amore) and Argirio Orff’s Carmina burana. enjoying a growing reputation with further contemporary opera festival Almeida Opera. (Tancredi) for Frankfurt Opera, Belmote (Die work from the BBC and international He pursues a busy career both in opera and Entführung aus dem Serail) for Opera Zuid, Clive Bayley sang the role of Claggart (Billy recording companies. in concert. His repertoire extends from Mozart Nemorino (The Elixir of Love) for English Budd ) whilst still a student at the Royal and early nineteenth-century to National Opera, Tom Rakewell (The Rake’s Northern College of Music, where he was a The London Philharmonic Orchestra was Janácˇek, Britten and contemporary music. In Progress) and the title role in Le comte Ory for Peter Moores Scholar. He is already well formed in 1932 by Sir Thomas Beecham. Over England he has appeared regularly at English Glyndebourne Touring Opera, the title role established with the major opera companies the years it has attracted an unmatchable series National Opera and in concert with the in Candide for Chicago Lyric Opera and throughout this country and he regularly sings of Principal Conductors, including Sir Adrian Philharmonia. In 1996 he made his debut at Edgardo () for Welsh in concert. He made his debut with the Royal Boult, Sir John Pritchard, Bernard Haitink, Sir the Glyndebourne Festival with Così fan tutte. National Opera. Opera in 1991 in the premiere of Birtwistle’s Georg Solti and Klaus Tennstedt. Its current He is a frequent visitor to Spain where he Gawain, and has also had notable successes regular conductors include Music Director has appeared with most of the opera Considered to be one of Britain’s most versatile with Opera North (Verdi’s ), English Franz Welser-Möst, and President Bernard companies and symphony orchestras. He gave and exciting sopranos, Lynne Dawson enjoys a National Opera (Billy Budd, and Haitink. the Spanish premiere of Peter Grimes in busy career which encompasses opera, Dr Faust) and Opera Factory (Don Giovanni). Since 1964, it has been resident symphony Madrid, and in 1996 he conducted the first concerts, recitals and recordings at the highest Recordings include Michael Berkeley’s Baa Baa orchestra at Glyndebourne Festival Opera Spanish production of The Rake’s Progress, international level. Her appearances have Black Sheep, Landi’s Il Sant’Alessio, Candide, and, in 1992, the orchestra became resident inaugurated two new concert halls with included roles in Iphigénie en Aulide, The Fairy Troilus and Cressida, and Varlaam (Boris symphony orchestra at the Royal Festival Beethoven’s Ninth Symphony and a new opera Queen, Graun’s Cleopatra e Cesare, Orlando, Godunov for Chandos/Peter Moores Hall. It also tours extensively, being the first house with Carmen. He has also appeared in Gluck’s Orfeo, and Tancredi. She has enjoyed Foundation). British orchestra to visit the USSR and China, Italy, where he conducted Ricciardo e Zoraide many successful concert collaborations and its recordings have won many major in the Rossini Opera Festival at Pesaro, in throughout her career, with some of the world’s Geoffrey Mitchell’s singing career encompassed awards. France, Germany, Belgium, Holland, and in leading conductors including Mehta, a remarkably wide repertoire from early to Sweden where he conducted an acclaimed Barenboim, Giulini, Ashkenazy, Gardiner, contemporary music. This resulted in David Parry studied with Sergiu Celibidache production of Britten’s A Midsummer Night’s Mackerras, Andrew Davis, Harnoncourt and conducting invitations from the BBC and and began his career as Sir John Pritchard’s Dream. Marriner. subsequently to a wider involvement with his assistant. He made his debut with English Outside Europe David Parry has appeared Lynne Dawson has made over sixty own singers and this led to the establishment Music Theatre and went on to become a staff at the Hong Kong International Festival, with recordings which include Handel’s and of the Geoffrey Mitchell Choir. Early conductor at Städtische Bühnen Dortmund the UNAM Symphony Orchestra at Mexico , Monteverdi’s Orfeo, Iphigénie en Aulide, recordings resulted in the choir’s long-term and at Opera North. He was Music Director of City, with a tour of Carmen in Japan and, , Mozart’s , involvement with for whom they Opera 80 from 1983 to 1987, and since 1992 in 1996, conducting a new production of 16 17 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 18

Katya Kabanova for the New Zealand the Prix Cecilia in Belgium and for Chandos Festival. he conducted the award-winning recording of Opera in English on Chandos He has recorded extensively for the Opera Tosca, two recordings of operatic arias (with Rara label, the most recent issue being and Diana Montague), La bohème, Donizetti’s Rosmonda d’Inghilterra, which won Cavalleria rusticana and Pagliacci.

CHAN 7023/4 CHAN 3000(2)

CHAN 3008(2) CHAN 3007

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to various young artists, several of whom – such as , and Colin PETER MOORES, CBE, DL Davis – have since become world-famous. Moores has always been astute in his recognition Peter Moores was born in Lancashire in 1932, son of Sir John Moores, founder of the giant of potential quality. In 1964 he set aside a large slice of his inheritance to found the Peter Littlewoods mail order, chain store and football pools group. He was educated at Eton and Moores Foundation, a charity designed to support those causes dear to his heart: to make Christ Church, Oxford, where he read Modern Languages. He was already fluent in music and the arts more accessible to more people; to give encouragement to the young; to German and Italian. It was opera which was his great love, however. He had worked at fight discrimination and to improve race relations. 99% of the Foundation’s money has come Glyndebourne before going up to university, and at the end of his second year he left from Peter Moores’s own pocket – so far about £33 million in today’s money. Oxford to become a production student at the . He was required to attend morning rehearsals and evening performances, but the afternoons were free, so he enrolled as well for a four-year course at the Viennese Academy of Music and Dramatic Art. PETER MOORES FOUNDATION By the end of his third year Moores had produced the Viennese premiere of Britten’s In the field of music, the Peter Moores Foundation awards scholarships to promising young The Rape of Lucretia, had worked as Assistant Producer at the opera singers through the Royal Northern College of Music. Financial help may be given also San Carlo Opera House, , the Geneva Festival and the to enable a singer to study abroad, or to work on a new role with an acknowledged expert in Opera, and seemed set for a successful operatic career. the repertoire. At this point he received a letter from his father asking him In the last twenty years the Foundation has supported the recording of thirty-nine operas. to come home as he was needed in the firm. Family loyalty Many are sung in English, in translation, because Moores believes that in the popular was paramount and he returned to Liverpool immediately. repertoire, ‘what people want is to be able to follow the plot of an opera and understand what Christina Burton/PMF By 1977 he was Chairman of Littlewoods. Three years is going on’. Others are of interesting but unperformed Italian operas from the early later he stepped down from the post, although still nineteenth century (the age of ), which are otherwise only accessible to scholars. remaining on the Board, and was director of a merchant Accessibility is the key word. bank. From 1981 to 1983 he was a Governor of the BBC, The same criterion holds where live opera is concerned. So the Foundation may sponsor and a Trustee of the Tate Gallery from 1978 until 1985. In Welsh National Opera, performing for a week at the Liverpool Empire and charging only May 1992 he became a Deputy Lieutenant of Lancashire. £2.50 per ticket – the provision being that each ticket holder must be a first-time opera And in the New Year’s Honours List for 1991 he was made a visitor – or it may fund the production at Glyndebourne of Ermione, a bel canto opera never CBE for his charitable services to the Arts. before performed in England. He had started his early twenties giving financial support Peter Moores, CBE, DL The aim is always the same: availability. ‘Share and enjoy’ is his philosophy.

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den Alten “geheiratet” hat, plötzlich klar, daß dem Jahre 1832. Noch erstaunlicher ist die Gaetano Donizetti: Don Pasquale die herzlose Komödie zu weit gegangen ist. Tatsache, daß er das Textbuch zum Teil, in Donizetti sorgt außerdem dafür, daß Pasquale, Zusammenarbeit mit Giovanni Ruffini, selbst so töricht sein Plan, als alter Mann eine junge schrieb. Als Quelle für die Oper diente ein in Zu meinen ersten Opernerlebnissen, die nun Nummer immer wiederholt werden, was auch Frau zu nehmen, auch sein mag, stets ein Vergessenheit geratenes Stück namens inzwischen 50 Jahre zurückliegen, gehören nicht weiter verwundert, denn es handelt sich grundsätzlich sympathischer Charakter bleibt. Ser Marcantonio, das 1810 in Mailand zwei Vorstellungen von Donizettis Don dabei um einen der Glanzpunkte nicht nur Während wir über ihn lachen, bemitleiden wir inszeniert wurde und dessen Textbuch von Pasquale im Londoner Cambridge Theatre. dieses Stückes sondern der opera buffa seine Torheit. Und trotz der Herzlosigkeit von Angelo Anelli stammt. Donizetti reduzierte Der großartige Mariano Stabile war überhaupt: Baß und Bariton suchen sich Malatesta und Norina können wir nicht und vereinfachte vernünftigerweise die Dr. Malatesta, die entzückende gegenseitig in der parlando-Schlußpassage umhin, ihre Machenschaften zu genießen, da komplizierte Handlung, die ihm Anelli spielte Norina, und ein bis dahin unbekannter durch Schnelligkeit und flinke Artikulation zu ihre Persönlichkeiten so einnehmend hinterlassen hatte, drastisch, und hatte britischer Baß namens Martin Lawrence sang überbieten. Auch heute noch eifre ich diesem gezeichnet sind. Dem scheinbar von seiner dadurch, so der prominente Kritiker Ernest die Titelrolle. Lawrence gab sich mit dem so inspirierten Exemplar der Duettliteratur geliebten Norina verlassenen Ernesto erlaubt es Newman, “mehr Möglichkeiten, die einfachen Italienischen große Mühe, aber sogar ich, trotz jedesmal erwartungsvoll entgegen. Donizetti in zwei gefühlvollen Arien sein musikalischen Formen auszudehnen und aus meiner jungen Jahre, hatte den Eindruck, daß Don Pasquale ist allerdings in jeder Hinsicht ganzes Herz auszuschütten, und zwar mit Hilfe jeder Situation auch noch das letzte Tröpfchen ihm die Partie auf englisch noch besser gelegen ein herrliches Stück, eine perfekte der klagendsten Musik, die der Komponist je Humor herauszupressen”. hätte. Das Werk hat mir großen Spaß gemacht Verknüpfung von Komödie und Gefühl durch für Tenor geschrieben hat. Es wird behauptet, daß Donizetti nicht mehr – wem wäre es wohl anders ergangen? – aber einen Meister beider Genres. Bergamos Um so überraschender ist es also, daß gerade als elf Tage brauchte, um das Stück zu trotzdem hätte ich es vorgezogen, die Oper in berühmtester Sohn bezaubert den Zuhörer, diese bemerkenswerte Oper aus der Feder eines komponieren; wahrscheinlicher ist es aber, daß meiner eigenen Sprache zu hören. Gerade ich und eine inspirierte Szene jagt die andere. Mit Komponisten stammt, der bereits ausgelaugt die Arbeit eine Zeitspanne von drei Monaten, als Opernneuling hätte so ihren Witz mehr im unwiderstehlichem Elan und Einfallsreichtum und von Melancholie durchdrungen war. Don beginnend im Oktober 1842, in Anspruch Detail und nicht nur eher pauschal genießen sowie einer ausgesprochen subtilen Mischung Pasquale entstand im Jahre 1843 und gehört zu nahm. Trotzdem schrieb der Komponist später: können. Später wurde das Werk von der von Spaß und Tiefgang wird die Handlung den letzten von Donizettis etwa 60 Opern. “Die Oper hat mich eine kolossale Bemühung Sadler’s Wells Opera aufgeführt, und diesmal durch Soli, Duette und Ensembles Zwei Jahre nach ihrer Vollendung war der von elf Tagen gekostet”, eine Bemerkung, die gewannen die Einzelheiten der Handlung an vorangetrieben. Die Geschichte, in der es Komponist gelähmt, und er starb 1848. sich vermutlich auf die Fertigstellung eines Deutlichkeit. Don Pasquale fand aber am darum geht, den alten Pasquale zu überlisten, Obwohl er bereits schwerkrank war, gelang es Grundrisses für das Werk bezog. Sicherlich war Cambridge Theatre so großen Anklang, daß um ihm eine Lektion zu erteilen, hat sicherlich ihm dennoch, ein solches Meisterwerk ihm auch dadurch sehr geholfen, daß er auf für Columbia eine 78er Schallplatte von dem auch ihre grausamen Seiten, und gerade in entstehen zu lassen, ein städtisches Pendant zu andere Zwecke geschriebenes Material Duett Malatesta/Pasquale im 3. Akt einem ihrer giftigsten Momente wird der gleichermaßen inspirierten ländlichen zurückgreifen konnte, welches er mit Verstand herausbrachte. Im Theater mußte diese “Sofronia”, d.h. der verkleideten Norina, die Komödie L’elisir d’amore (Der Liebestrank) aus und Raffinesse nahtlos in den neuen Kontext 22 23 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 24

einzuflechten verstand – eine Fähigkeit, die charmant. Tamburini soll schauspielerisch Welt. Im Mai 1843 kam es nach Wien, wo der in der Oper wird dies so deutlich, wie in dem übrigens Händel ebenso meisterhaft genauso begabt gewesen sein wie sängerisch. Komponist das Duett “Cheti, cheti Moment im Pasquale/Norina Duett des beherrschte. Und Lablache war womöglich der immantinente” (No more words, not even 3. Aktes, als Norina plötzlich klar wird, daß sie Donizetti wurde 1797 in einfachen bemerkenswerteste Baß seines Jahrhunderts. whispers), das bald so berühmt werden sollte, es mit ihrem neuen “Bräutigam” zu weit Verhältnissen geboren, und sowohl sein Laut dem britischen Kritiker Chorley war er hinzufügte; im gleichen Monat und mit der getrieben hat. Nachdem sie ihn geohrfeigt hat, Großvater als auch sein Vater waren “alles in allem der erstaunlichste Mann, den ich Premierenbesetzung nach London; und im Mai wird sie reuevoll und singt im parallelen Dur Textilarbeiter. Schon der junge Gaetano zeigte je in der Oper erlebt habe”. In der Rolle des 1846 dann nach New York. In unserem zu Pasquales jämmerlichen Klagen in a-Moll musikalische Begabung und schien für die Pasquale beschrieb ihn Chorley als “den Jahrhundert gab es 1904 eine berühmte “E’ duretta la lezione” (I chastise him far from Kirchenmusik prädestiniert zu sein. Der Junge liebenswerten, törichten Helden des Lustspiels”, Wiederaufnahme an der , gladly). Dadurch wird die zwar komische, aber hatte aber weltlichere Ideen im Kopf und der Grobheit und plumpe Nachahmung immer mit Caruso als Ernesto; ebenfalls 1904 auch etwas grausame Stimmung, die durch träumte von einer Karriere am Theater. Seine vermied, und so daran erinnerte, daß die Rolle Aufführungen an der Scala mit Sobinov als Norinas Possen entstanden war, wieder ein Lehrer waren Giovanni Simone Mayr, der selbst nie zum Clown verkommen sollte. Ernesto und Giuseppe De Luca als Malatesta; wenig abgemildert. (Sie hatte Pasquales viele Opern schrieb, und Mattei, bei dem er in Donizetti wollte das Stück in modernem 1905 eine Wiederaufnahme am Londoner Haushalt auf den Kopf gestellt, obwohl Bologna studierte. Seine erste Oper schrieb Kostüm spielen lassen, die Sänger waren aber Covent Garden mit Maurel (dem ersten Sofronia angeblich ein ängstliches Mädchen Donizetti bereits 1818, als er 21 Jahre alt war. dagegen und ebenso der Mitverfasser des Falstaff) als Malatesta; und 1938 eine direkt aus dem Kloster sein sollte.) Wie ein Von diesem Zeitpunkt an arbeitete er mit Textbuches Ruffini, der davon überzeugt war, bemerkenswerte Inszenierung in Glyndebourne Donizetti-Forscher anmerkte: “Nur Norinas Schnelligkeit und Fleiß und schuf so zwischen daß die Handlung viel geeigneter für “Perücken mit Stabile als Malatesta und Dino Borgioli als Fähigkeit zur Zärtlichkeit sorgt dafür, daß ihr zwei und fünf Opern pro Jahr. Doch erst im und samtene Kniehosen” wäre. Dem Ernesto. Seit 1945 befindet sich das Stück, Sinn für Humor die Grenzen des guten Jahre 1830 erlangte er mit Anna Bolena Komponisten blieb, wie auch zehn Jahre später neben der Produktion des Cambridge Theater, Geschmacks nicht übertritt.” wirklichen Ruhm. Verdi anläßlich seiner La traviata, nichts auch sonst überall im Repertoire. Pasquale selbst ist eine recht typische buffo- Seit der Premiere am 4. Januar 1843 in Paris anderes übrig als nachzugeben. Mit typischer Bei diesem späten Werk kommt zu den Figur, deren Musik zum größten Teil im (die italienische Premiere folgte am Bescheidenheit schrieb Donizetti später an den melodischen und rhythmischen Gaben, die wir parlando-Stil gehalten ist. Malatesta ist 17. April an der Mailänder Scala) hat sich Verleger Ricordi: “Bitte denken Sie nicht, daß von Donizetti kennen, noch das neue Element unbeständiger, und sein Charakter ändert sich, Don Pasquale immer großer Beliebtheit erfreut. der Erfolg nur auf meine Musik eines weiterentwickelten Harmonieempfindens je nach den Anforderungen der Handlung. Und was für eine Besetzung damals zu hören zurückzuführen ist; sie [die Sänger] haben hinzu, insbesondere in Form subtiler Nirgendwo ist seine Musik flexibler als im war: Giulia Grisi als Norina, Matteo Mario als miteinander gewetteifert, um das beste Resultat Modulationen. Außerdem hatte der Duett mit Norina im 1. Akt. Hier bringt er ihr Ernesto, Antonio Tamburini als Malatesta und zu erringen.” Wem auch immer es zu Komponist inzwischen gelernt, die einzelnen die beste Methode Pasquale aufs Kreuz zu Luigi Lablache als Pasquale – alle auf dem verdanken gewesen sein mag: Das Werk war in musikalischen Nummern auszuweiten und sie legen bei, und die Musik zeichnet jede Nuance Gipfel ihrer Berühmtheit. Mario und Grisi Italien sofort ein Triumph, und seine durch neue Ideen so zu variieren, daß der in den Gedanken der beiden nach. Norina waren Mann und Frau, er gutaussehend, sie Beliebtheit trug es bald in alle Opernhäuser der Zuhörer nie das Interesse verliert. Nirgendwo selbst tut schon in ihrer besonders lebhaften, 24 25 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 26

zweiteiligen Auftrittsarie unverkennbar ihren Pasquales Garten trifft. Vom Kompositorischen besonders wirkungsvoll ist er im 3. Akt, wenn Junggeselle, hat zu heiraten beschlossen. Charakter kund. Ebenso Ernesto in “Sogno her sind diese letzten Szenen zwar eher er in der Rolle der beobachtenden Dienerschaft Außerdem beabsichtigt Pasquale, seinen Neffen soave e casto” (Never again shall I find you) – konservativ, im Kontext der gesamten Oper versucht, mit den von Norina in Pasquales Ernesto zum Alleinerben zu machen, aber nur, sein trauriger Traum von Glück scheint ihm zu bilden sie aber einen perfekten Kontrast zu den Domizil eingeführten Unmengen neuer wenn dieser eine gute Partie macht. Ernesto entgleiten, da Pasquales Heiratspläne ihn um komischen Eskapaden des obenerwähnten Gegenstände fertig zu werden. Später folgt weigert sich, denn er ist in die mittellose sein Erbe zu bringen drohen. In einem parlando-Duetts zwischen Malatesta und noch eine reizende Nummer, in der der Chor Norina verliebt. Rezitativ mit anschließender Arie und Pasquale “Cheti, cheti, immantinente” die komischen Vorkommnisse im Hause Pasquale möchte seinen eigenen Sohn und Cabaletta zu Anfang des 2. Aktes (“Povero (No more words, not even whispers). kommentiert. Diese Chöre sind ein Beweis Erben zeugen und hat seinen Freund Doktor Ernesto!… Cercherò lontana terra… E se fia” Indem Donizetti keine großen Finale dafür, daß Donizetti einfallslose Szenen fremd Malatesta gebeten, eine geeignete Braut zu (Poor, lost Ernesto… I shall go, no more schreibt, scheut er die Konvention. Der 1. Akt sind. beschaffen. Malatesta erscheint, um seine Wahl returning… And if you ever…)) entschließt er endet mit dem obengenannten Duett Don Pasquale stellt die Quintessenz eines bekanntzugeben: ein unschuldiges, im Kloster sich dann, sein Glück anderswo zu suchen. Norina/Malatesta, der 2. Akt mit einem Genres dar, das mehr als hundert Jahre erzogenes junges Mädchen, schön wie ein Dies ist eine wunderbar abwechslungsreiche kurzweiligen Quartett für die Hauptdarsteller, fortbestanden hatte. Verdis Falstaff, der Engel und im übrigen seine eigene Schwester. Szene für lyrischen Tenor und fordert sowohl und den dritten beschließt ein Sextett mit 50 Jahre später entstand, steht offensichtlich in Pasquale verlangt sie augenblicklich zu sehen ein nuanciertes Klangspektrum als auch “Happy End”. Auch neu in diesem Genre ist Donizettis Schuld, aber zu diesem Zeitpunkt und bekundet, sobald er allein ist, unbändige stimmliches Geschick, wie es in der Verzicht auf jegliche Art von waren Opernkomponisten schon ein ganzes Lust, Vater einer großen Familie zu werden. der bahnbrechenden Aufnahme der Oper aus Tasteninstrument in den Rezitativen. Statt Stück weiter. Heute sieht und hört man Ernesto findet das Vorhaben seines Onkels den 30er Jahren unter Beweis stellte. dessen bevorzugt der Komponist fließende deutlich, daß Don Pasquale ein Ende und nicht zunächst lächerlich, dann beunruhigend im Im 3. Akt findet Ernesto schließlich sein Streicherakkorde, wodurch Dialoge und Arien einen Anfang bedeutet. Es ist aber ein Werk, Hinblick auf seine eigenen Aussichten; er ist Glück und singt, begleitet von Gitarren- bzw. Ensembles viel nahtloser ineinander das man vor allem wegen seines Reichtums an bestürzt, als er erfährt, daß Malatesta ihn akkorden und einem Chor hinter der Szene, übergehen. Überhaupt erzeugt das Werk den Erfindung und Charakter genießen sollte. verraten hat, indem er seine eigene Schwester der dem verführerischen Gesang des Tenors Eindruck, aus einem einzigen Eingebungs- und als Pasquales Braut vorgeschlagen hat. eine besondere Atmosphäre verleiht, eine Phantasieguß entstanden zu sein. © 1998 Alan Blyth ausgesprochen gefühlvolle Serenade “Com’è Was bleibt noch hinzuzufügen? Die Übersetzung: Bettina Reinke-Welsh 2. Szene gentil” (The night is calm). Ihr folgt ein Ouvertüre gewährt uns einen Vorgeschmack In einem anderen Teil der Stadt blättert Norina Nocturne-Duett voll ineinander auf viele der herrlichen Melodien, mit denen Inhaltsangabe in einem Liebesroman, gelangt jedoch zu dem verschlungener Terzen und Sexten zwischen die Oper durchsetzt ist, und verbreitet so ein Schluß, daß sie in solchen Fragen kaum der Ernesto und seiner geliebten Norina “Tornami angenehmes Gefühl der Vorfreude auf die I. Akt Belehrung bedarf. Sie erfährt brieflich, daß a dir” (Come, say the words I long for), als sich bevorstehenden Ereignisse. Die Behandlung des Szene 1 Ernesto enterbt worden ist und Rom verlassen das Liebespaar im tiefen Schatten von Chores ist ausgesprochen detailliert, und Don Pasquale, ein reicher, aber ältlicher will. Malatesta trifft ein; er beruhigt Norina 26 27 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 28

und erläutert seinen Plan, demzufolge sie bei Nachdem nun die Zeremonie vorüber ist, Szene 2 Vivette), Don Pasquale und Gianni Schicchi. einer Scheinhochzeit mit Pasquale seine ändert “Sofronia” umgehend ihren Charakter. Ernesto bringt seiner Norina ein Ständchen, Außerdem hat er an der Royal Opera, der Schwester spielen soll. Pasquale weißt daß Sie verlangt von ihrem eben erst angetrauten und die Liebenden werden aufs neue vereint. Opera North, der Scottish Opera, der Malatesta eine Schwester, die im Kloster wohnt Ehemann, Ernesto im Haus zu behalten, Pasquale und Malatesta überraschen sie. Glyndebourne Festival Opera, der Kent Opera hat, aber die beide sind nie getreffen. Malatesta fordert neue, besser bezahlte Bedienstete und Ernesto entkommt. und der Welsh National Opera gesungen, probt mit Norina ihre neue Rolle. behauptet, das Haus müsse renoviert werden. Pasquale beschließt, seine neue Gemahlin sowie im Ausland an der New Israeli Opera, Pasquale merkt, daß er getäuscht wurde, und loszuwerden, doch die läßt sich nicht so leicht San Diego Opera, die Opéra comique, Paris, II. Akt ist verwirrt. fortschicken. Malatesta weiß eine Lösung, aber und in Lyon, Nantes, Montpellier, Amsterdam, Szene 1 nur, wenn er dafür freie Hand hat; Pasquale Vancouver und Hamburg. Zu seinen Ernesto beschließt, in fernen Landen Trost zu III. Akt willigt nur zu gern ein. Malatesta ruft Ernesto Aufzeichnungen auf Tonträger gehören suchen. Er bekennt, daß er Norina verzeihen Szene 1 aus dem Haus und unterrichtet ihn, daß sein Der Barbier von Sevilla, Tosca, La bohème (für würde, sollte sie mit einem neuen Geliebten Die neuen Bediensteten und die Hand- Onkel seine Heirat mit Norina bewilligt hat Chandos und die Peter Moores Foundation) glücklich werden. werker stellen das Haus auf den Kopf. und ihm eine beachtliche Apanage aussetzen und Die Sache Makropulos. Pasquale ist empört über die Höhe der wird. Resigniert fordert Pasquale Ernesto auf, Szene 2 Rechnungen. Als “Sofronia” zum Ausgehen seine Braut herzuholen. Die jedoch ist schon Jason Howard ist Absolvent des Trinity Malatesta stellt Pasquale die verkleidete Norina fertig die Bühne betritt, fragt er sie, wo sie da. Pasquale geht auf, daß man ihm einen College of Music und der Opernfakultät des als seine Schwester Sofronia vor. Sie tut so, als hinwolle. “Ins Theater”, antwortet sie. Als Streich gespielt hat, und er verzeiht dem Royal College of Music. Die Auftritte des fürchte sie sich vor der Begegnung mit einem er ihr Vorwürfe macht, schlägt sie ihn ins jungen Paar. Heirat ist eine gute Sache, aber herausragenden Interpreten an der Scottish Mann, und beantwortet schüchtern seine Gesicht. Für Pasquale bricht die Welt nicht für einen alten Mann. Opera und Opera North haben bei Kritikern Fragen nach ihrem behüteten Leben. Als zusammen. einstimmigen Beifall hervorgerufen. Howard Malatesta darauf besteht, daß sie ihren Schleier Im Gehen läßt sie den Brief eines Übersetzung: Anne Steeb/Bernd Müller hat die Titelrollen in Don Giovanni und abnimmt, ist Pasquale von ihrer Schönheit ungenannten Liebhabers fallen, der sie um ein Le nozze di Figaro (Scottish Opera) gesungen, überwältigt. Treffen am selben Abend im Garten ersucht. die Titelrolle in Billy Budd (Opera North), Auf Malatestas Geheiß wird der “Notar” Pasquale ruft seinen Freund Malatesta zu Hilfe. Andrew Shore ist heute als der herausragende außerdem Ned Keene (Peter Grimes) an der herbeigerufen und ein Ehevertrag aufgesetzt. Die Bediensteten unterhalten sich über die Buffobariton Großbritanniens anerkannt. Seit English National Opera und die Titelrolle des Man benötigt einen zweiten Zeugen; da eilt merkwürdigen Vorgänge im Haus. seinem Debüt an der English National Opera Eugen Onegin an der Welsh National Opera. der untröstliche Ernesto herein und wird zur Malatesta kommt und rät Pasquale zu einem im Jahre 1988 hat er unter anderem Falstaff, Davon abgesehen hat er in Seattle, Genf und Teilnahme genötigt. Er erkennt in Pasquales angemessen diskreten Vorgehen. Sie werden Dieg (in Philip Glass’ The Making of the Nantes gastiert, am Staatstheater Stuttgart und Braut Norina wieder, unterschreibt jedoch auf sich zusammen in den Garten schleichen, das Representative for Planet 8), Papageno an der Opéra de Bastille. Jason Howards Malatestas Beharren den Vertrag. Liebespaar ertappen und Rache üben. (Die Zauberflöte), Monsieur Calcul (La belle Konzertauftritte umfassen Mahlers Achte 28 29 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 30

Sinfonie, Elgars The Kingdom und konzertante internationalem Niveau. Sie hat unter anderem Aufnahmen auf Tonträger gehören Michael Seit 1964 ist das London Philharmonic Darbietungen von Berlioz’ Les troyens. Er hat Partien in Iphigénie en Aulide, The Fairy Queen, Berkeleys Baa Baa Black Sheep, Landis Residenzorchester bei der Glyndebourne unter anderem The Student Prince, Song of Grauns Cleopatra e Cesare, Orlando, Glucks Il Sant’ Alessio, Candide und Waltons Troilus Festival Opera und seit 1992 an der Royal Norway und A Little Night Music auf Tonträger Orfeo, und Tancredi gesungen. Außerdem hat and Cressida. Festival Hall. Es unternimmt zahlreiche aufgenommen. sie im Lauf ihrer Karriere mit einigen der Konzertreisen und besuchte als erstes britisches führenden Dirigenten der Welt erfolgreich Geoffrey Mitchell hat im Lauf seiner Orchester die UdSSR und China. Seine Barry Banks, Absolvent des Royal Northern im Konzertsaal zusammengearbeitet, zum Gesangskarriere ein erstaunlich umfangreiches Platteneinspielungen sind vielfach preisgekrönt College of Music, wo er als Stipendiat der Peter Beispiel mit Mehta, Barenboim, Giulini, Repertoire erschlossen, von alter bis hin zu worden. Moores Foundation studiert hatte, hat sich als Ashkenazy, Gardiner, Mackerras, Andrew zeitgenössischer Musik. Daraus ergaben sich erst einer der besten Tenöre seiner Generation Davis, Harnoncourt und Marriner. Dirigieraufträge von der BBC, dann eine David Parry studierte bei Sergiu Celibidache durchgesetzt. Er ist unter anderem als Tamino Lynne Dawson hat über sechzig ausgedehntere Zusammenarbeit mit seinen und begann seine Laufbahn als Sir John (Zauberflöte) bei den Salzburger Festspielen, Tonaufnahmen vorgenommen, darunter Sängern, die wiederum zur Gründung des Pritchards musikalischer Assistent. Er am Théâtre La Monnaie in Brüssel und an der Händels Jephtha und Saul, Monteverdis Orfeo, Geoffrey Mitchell Choir führte. Frühe debütierte mit dem English Music Theatre und Leipziger Oper aufgetreten, als Nemorino Iphigénie en Aulide, Dido and Aeneas, Mozarts Schallplattenaufnahmen hatten zur Folge, daß wurde Kapellmeister an den Städtischen (L’elisir d’amore) und Argirio (Tancredi) an der Requiem, Mendelssohns Sommernachtstraum der Chor langfristige Beziehungen zu Opera Bühnen Dortmund sowie an Opera North in Frankfurter Oper, als Belmonte (Die und Orffs Carmina burana. Rara einging, für die er 15 Opern aufgezeichnet Leeds. Von 1983 bis 1987 fungierte er als Entführung aus dem Serail) an der Opera Zuid, hat. Derzeit genießt er dank weiterer Musikdirektor für Opera 80 und seit 1992 ist als Nemorino an der English National Opera, Clive Bayley hat die Rolle des Claggart (Billy Verpflichtungen für die BBC und internationale er der Musikdirektor (und Gründer) des als Tom Rakewell (The Rake’s Progress) und in Budd) gegeben, als er noch als Peter-Moores- Schallplattenfirmen wachsendes Ansehen. zeitgenössischen Opern-Festivals Almeida der Titelrolle des Comte Ory für die Stipendiat am Royal Northern College of Opera. Glyndebourne Touring Opera, in der Titelrolle Music studierte. Inzwischen ist er an allen Seit seiner Gründung im Jahr 1932 durch Sir Parrys Tätigkeitsbereich ist nicht nur das von Candide an der Chicago Lyric Opera und wesentlichen Opernhäusern in Großbritannien Thomas Beecham hat das London Opernhaus, sondern auch der Konzertsaal. als Edgardo (Lucia di Lammermoor) an der bekannt und tritt außerdem regelmäßig in Philharmonic Orchestra unter der Leitung Sein Repertoire erstreckt sich von Mozart und Welsh National Opera. Konzerten auf. Er debütierte 1991 bei der unzähliger prominenter Chefdirigenten der italienischen Oper des frühen 19. Uraufführung von Birtwistles Gawain an der gestanden, darunter Sir Adrian Boult, Sir John Jahrhunderts bis zu Janácˇek, Britten und Lynne Dawson gilt als eine der vielseitigsten Royal Opera und hat außerdem beachtliche Pritchard, Bernard Haitink, Sir Georg Solti zeitgenössischer Musik. In England dirigiert er und interessantesten Sopranistinnen Erfolge an der Opera North (Verdis Jerusalem), und Klaus Tennstedt. Im Augenblick zählen zu regelmäßig an der English National Opera und Großbritanniens und ist entsprechend der English National Opera (Billy Budd, seinen regulären Dirigenten der Musikdirektor konzertiert mit dem , vielbeschäftigt in Opern, Konzerten, Recitals Wozzeck und Dr. Faust) und der Opera Factory des Orchesters, Franz Welser-Möst und der 1996 machte er mit Così fan tutte sein Debüt und Einspielungen auf höchstem (Don Giovanni) verzeichnet. Zu seinen Präsident, Bernard Haitink. bei dem Glyndebourne Festival. 30 31 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 32

David Parry gastiert häufig in Spanien, wo Außerhalb Europas ist David Parry bei er bereits mit den meisten Opernkompanien dem Hongkong International Festival und Gaetano Donizetti: Don Pasquale und Sinfonieorchestern aufgetreten ist. Die mit dem UNAM Symphony Orchestra in spanische Premiere von Peter Grimes fand unter Mexico City aufgetreten, war mit Carmen in seiner Leitung in Madrid statt; 1996 dirigierte Japan auf Tournee und leitete eine Parmi mes premiers moments passés à l’opéra, car c’est un des plus grands moments, non er die erste spanische Inszenierung von The Neuinszenierung von Katja Kabanova für das il y a bien cinquante ans de cela, figurent des seulement de cette partition mais aussi de Rake’s Progress (Strawinsky) und weihte zwei Festival in Neuseeland. représentations (j’y allai deux fois) du Don tout l’opera buffa, baryton et basse rivalisant neue Konzertsäle mit der Neunten Sinfonie Parry hat zahlreiche Werke für das Label Pasquale de Donizetti au Cambridge Theatre de vitesse et d’agilité dans l’articulation au von Beethoven sowie ein neues Opernhaus mit Opera Rara eingespielt, zuletzt Rosmonda de Londres. Le grand Mariano Stabile y passage final de style “parlé” rapide. Même Carmen ein. In Italien leitete er Ricciardo e d’Inghilterra von Donizetti, das in Belgien mit chantait le docteur Malatesta, la délicieuse maintenant c’est toujours avec une grande Zoraide bei dem Rossini-Festival in Pesaro. Er dem Prix Cecilia ausgezeichnet wurde; für Alda Noni, Norina, et une basse britannique impatience que j’attends d’entendre ce duo tritt in Frankreich, Deutschland, Belgien, den Chandos hat er eine preisgekrönte Tosca jusqu’alors inconnue, Martin Lawrence, inspiré. Niederlanden und Schweden auf, wo er eine aufgenommen, zwei Aufnahmen operatischen incarnait le rôle-titre. Lawrence se débrouilla Il faut dire que Pasquale est une œuvre gefeierte Inszenierung von Britten’s Midsummer Arien (mit Bruce Ford und Diana Montague), de son mieux en italien, mais, malgré mon merveilleuse dans l’absolu, l’union parfaite de Night’s Dream dirigierte. La bohème, Cavalleria rusticana und Pagliacci. jeune âge, je sentis qu’il aurait été plus à l’aise la comédie et des sentiments réalisée par un s’il avait chanté le rôle en anglais, et – bien que compositeur passé maître dans les deux genres. l’œuvre me plût énormément (en aurait-il pu L’enfant le plus célèbre de Bergame nous être autrement?) – j’aurais préféré l’entendre plonge l’oreille dans le ravissement tandis dans la langue vernaculaire: de cette façon, qu’un numéro inspiré en suit un autre. Solos, nouveau venu que j’étais à l’opéra, j’aurais pu duos et ensembles font progresser l’histoire apprécier la comédie dans ses détails plutôt que avec une énergie et une invention irrésistibles, d’être diverti de façon plus générale. L’œuvre le comique et la profondeur des sentiments fut plus tard donnée par le Sadler’s Wells étant imperceptiblement mêlés. La duperie de Opera et les menus détails de l’intrigue Don Pasquale dans le but de lui donner une m’apparurent enfin clairement. Toutefois, leçon a certainement un côté cruel – d’ailleurs, Pasquale était si populaire au Cambridge au moment même où “Sofronia” (Norina Theatre que la Columbia fit paraître un disque déguisée), qui a “épousé” son vieux fossile, se en 78 toursdu duo chanté par Malatesta et montre des plus acariâtres, elle se rend compte Pasquale à l’acte III, duo qu’il fallait toujours que cette cruelle comédie est allée trop loin; et, bisser au théâtre – ce qui n’est pas surprenant pendant tout l’opéra, Donizetti rend le

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personnage de Pasquale fondamentalement Angelo Anelli avait écrit le livret. Donizetti eut des visées plus profanes, à savoir faire carrière ajoutant qu’il évitait toujours toute balourdise sympathique, malgré son ridicule désir de le bon sens de simplifier et réduire de façon au théâtre. Ses professeurs furent Giovanni ou imitation grossière, nous rappelant que devenir le vieillissant époux d’une jeune draconienne l’intrigue complexe lui venant Simone Mayr, lui-même compositeur ce rôle ne devrait jamais être transformé en femme, de sorte que tout en nous moquant de d’Anelli, ce qui permit, comme le distingué prolifique d’opéras, et Mattei avec lequel il pitrerie. lui nous comprenons sa folie. En dépit de leur critique Ernest Newman le dit un jour, de travailla à Bologne. Le premier opéra de Donizetti voulait que l’œuvre soit jouée en cruauté, nous ne pouvons nous empêcher de donner au compositeur “l’occasion accrue de Donizetti fut écrit en 1818 alors qu’il n’était costume contemporain, mais les chanteurs s’y suivre les machinations de Malatesta et de développer les formes musicales simples et âgé que de vingt-et-un ans. Dès lors, il travailla opposèrent, ainsi que le prétendu coauteur du Norina avec plaisir parce que ce sont eux- d’extraire jusqu’à la dernière goutte l’expression rapidement et de façon prolifique, composant livret, Ruffini, qui était convaincu que mêmes des personnages si enchanteurs. Puis, à humoristique de chaque situation”. de deux à cinq opéras par an, bien qu’il ne l’intrigue se prêtait davantage au port de l’aide de la musique la plus plaintive qu’il ait Donizetti n’aurait, dit-on, pas mis plus de devînt vraiment célèbre qu’en 1830 avec Anna “perruques et hauts-de-chausses en velours”. jamais écrite pour ses ténors, Donizetti laisse onze jours à composer l’œuvre, mais il serait Bolena. Donizetti, comme ce fut le cas avec Verdi et Ernesto, apparemment abandonné par sa probablement plus juste de dire qu’elle fut Pasquale s’avéra populaire dès sa première La traviata dix années plus tard, fut forcé de Norina bien-aimée, s’épancher au cours de écrite sur une période de trois mois, à dater qui fut donnée à Paris le 4 janvier 1843 (la s’incliner. Donizetti, avec une modestie deux arias émouvantes. d’octobre 1842. Pourtant, le compositeur première italienne suivit à La Scala, le caractéristique, écrivit ultérieurement à Il paraît donc bien surprenant que cet opéra écrivit plus tard: “l’opéra me coûta une 17 avril). Et cette première représentation l’éditeur Ricordi: “N’imaginez pas que ce étonnant soit l’œuvre d’un compositeur déjà immense fatigue de onze jours”, faisant bénéficia d’une éblouissante distribution: succès ait été seulement dû à ma musique; ils épuisé et d’humeur mélancolique. Pasquale, qui probablement allusion à la réalisation d’une Giulia Grisi en Norina, Matteo Mario en [les chanteurs] ont tous cherché à s’éclipser les fut écrit en 1843, figure parmi les derniers de esquisse de composition. Il fut sans aucun Ernesto, Antonio Tamburini en Malatesta et uns les autres en faisant chacun de leur la soixantaine d’opéras composés par Donizetti. doute aidé par le fait qu’il adapta de la Luigi Lablache en Pasquale, tous au sommet de mieux…” Quelle qu’en fût la cause, l’œuvre Deux ans après l’avoir achevé, il était paralysé, musique qu’il avait écrite pour d’autres la notoriété. Mario et Grisi, mari et femme, lui remporta un succès immédiat en Italie et sa et, en 1848, il était mort. Pourtant, en dépit de contextes, mais il eut l’intelligence et la beau et elle charmante. Tamburini, au dire de popularité s’étendit bientôt à tous les opéras du cet état déjà morbide, il fut en mesure de créer duplicité de les incorporer parfaitement à tous, jouait la comédie aussi parfaitement qu’il monde – Vienne en mai 1843, occasion pour ce chef d’œuvre, équivalent citadin de la leur nouveau contexte, une chose à laquelle chantait. Quant à Lablache, c’était laquelle le compositeur ajouta le duo “Cheti, comédie paysanne tout aussi inspirée qu’est bien sûr Haendel s’était aussi montré expert. probablement la basse la plus célèbre de son cheti immantinente” (No more words, not L’elisir d’amore (L’elixir d’amour) de 1832. Fait Donizetti, né en 1797, était de condition siècle, un personnage que le critique even whispers) qui devait bientôt devenir encore plus remarquable, il élabora lui-même modeste, son père et son grand-père travaillant britannique Chorley décrivit ainsi: “dans célèbre, Londres au cours du même mois avec en partie le livret de son opéra en collaboration comme ouvriers dans l’industrie textile. Le l’ensemble, l’homme le plus remarquable qu’il les chanteurs de la première, puis New York en avec Giovanni Ruffini. L’œuvre a pour origine jeune Gaetano, qui montrait du talent pour la m’ait jamais été donné de voir à l’opéra”. mai 1846. Ce siècle en vit une célèbre reprise un opéra oublié, intitulé Ser Marcantonio, qui musique, semblait destiné à devenir musicien Dans le rôle de Pasquale, le même auteur le au Metropolitan en 1904 avec Caruso en fut mis en scène à Milan en 1810 et dont au service de l’église, mais le jeune garçon avait qualifia de “cher héros niais de l’opéra-farce” Ernesto, des représentations à la Scala en 1904 34 35 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 36

avec Sobinov en Ernesto et Giuseppe De Luca comme un spécialiste de Donizetti en a fait le enregistrement novateur de l’opéra effectué au récitatif: le clavier n’y est utilisé nullepart, le en Malatesta, une reprise en 1905 à Covent commentaire, c’est “l’aptitude de Norina à la cours des années 30). compositeur préférant avoir recours à des Garden avec Maurel (le premier Falstaff) en tendresse qui maintient son sens de l’humour Finalement, à l’acte III, Ernesto trouve le accords changeants aux cordes. Ce qui permet Malatesta et une mise en scène notable à dans les limites du bon goût”. bonheur et chante la plus délicate des sérénades au dialogue d’être mêlé avec beaucoup plus Glyndebourne en 1938 avec Stabile en Pasquale en soi est un personnage buffo assez “Com’è gentil” (The night is calm), sur un d’aisance aux numéros. L’œuvre semble en effet Malatesta et Dino Borgioli en Ernesto. typique, dont la musique est en majorité de accompagnement d’accords à la guitare et avec avoir été écrite d’un seul élan d’inspiration et Depuis la guerre, en plus de la reprise du style parlando à l’élocution rapide. Malatesta un chœur en coulisse ajoutant de l’atmosphère d’imagination. Cambridge Theatre, l’œuvre a figuré partout est plus versatile, changeant de caractère au chant plein de séduction du ténor. Vient Que reste-t-il à ajouter? L’ouverture nous fait au répertoire. suivant les exigences de l’intrigue. Sa musique ensuite un duo-nocturne en tierces et sixtes entendre par avance un certain nombre des Dans cette œuvre tardive, Donizetti a ajouté ne montre nullepart aussi adaptable qu’à entrelacées, qu’il interprète avec sa Norina bien- ravissantes mélodies réparties dans tout l’opéra, à ses dons mélodique et rythmique un nouvel l’acte I, lors de son duo avec Norina lorsqu’il aimée “Tornami a dir” (Come, say the words I donnant naissance à un agréable sentiment élément, une harmonie plus avancée montrant lui fait répéter son rôle en vue de duper long for), le couple d’amoureux chantant en duo d’anticipation à l’égard des événements à venir. plus de subtilité au niveau de la modulation; il Pasquale, l’écriture suit alors chaque nuance de à l’ombre des bosquets du jardin de Pasquale. Le chœur, revêtant la forme de serviteurs qui a aussi appris à développer ses numéros et à les la pensée des deux protagonistes. Norina se Ces derniers numéros sont peut-être plus observent, y est méticuleusement utilisé avec varier avec une inspiration toute neuve qui présente elle-même dans une aria colorée en conventionnels sur le plan de la composition, grande efficacité à l’acte III, d’abord dans le garde l’oreille continuellement en éveil, et deux partie, qui délinée avec sûreté sa mais, dans le contexte de l’opéra pris dans son chœur où ils tentent de faire face à la nullepart davantage qu’au moment où, durant personnalité; il en est de même du “Sogno entier, ils viennent former un contraste parfait multitude de nouveautés que Norina a fait le duo entre Pasquale et Norina à l’acte III, soave e casto” (Never again shall I find you) par rapport aux pitreries du duo de style parlé rentrer dans la demeure de Pasquale, puis dans celle-ci se rend soudain compte qu’elle est allée d’Ernesto, dans lequel son triste rêve de rapide déjà mentionné, “Cheti, cheti, un charmant morceau où ils commentent les trop loin avec son nouvel “époux”. L’ayant bonheur semble lui échapper tandis que immantinente” (No more words, not even étranges événements se déroulant dans la giflé, elle se repent de son action en chantant Pasquale se prépare à prendre épouse, le whispers) chanté par Malatesta et Pasquale. maison. Donizetti n’a jamais écrit de numéro dans la relative majeure des commentaires privant apparemment de son héritage. Puis Donizetti se tient à l’écart des conventions en ennuyeux comme le prouvent ces chœurs. pathétiques de Pasquale en la mineur dans ses récitatif, aria et cabalette au début de n’écrivant pas de finales de grande envergure. Don Pasquale est la récapitulation d’un genre (“… E’ duretta la lezione” (I chastise him far l’acte II (“Povero Ernesto!… Cercherò lontana L’acte I se termine par le duo déjà mentionné qui avait duré plus de cent ans. Le Falstaff de from gladly)). Ceci dissipe l’atmosphère terra… E se fia” (Poor, lost Ernesto… I shall chanté par Norina et Malatesta, l’acte II finit Verdi, écrit cinquante ans plus tard, doit quelque peu cruelle créée par les pitreries de go, no more returning… And if you ever…)), avec un quatuor d’une grande variété réunissant manifestement à Donizetti mais, à l’époque, la Norina lorsqu’elle met sens dessus dessous la il décide d’aller chercher fortune ailleurs. C’est les principaux protagonistes, et l’acte III sur un composition opératique avait évolué. maison de Don Pasquale, ayant auparavant une scène d’une variété splendide pour le ténor sextuor marquant le dénouement heureux de Maintenant, nous voyons et entendons que prétendu que Sofronia était une timide jeune lyrique, qui requiert nuance tonale et dextérité l’intrigue. On remarquera une autre nouveauté Pasquale est un aboutissement et non un fille fraîchement sortie du couvent. D’ailleurs, vocale (ce que Tito Schipa fournit dans son apportée à cette sorte d’œuvre au niveau du commencement, mais avant tout une œuvre 36 37 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 38

à savourer pour son abondance d’invention d’apprendre que Malatesta l’a trahi en aux questions que lui pose Pasquale au sujet de de rendez-vous d’un amant anonyme qui lui et de caractère. proposant à Pasquale d’épouser sa propre sœur. son existence protégée. Quand Malatesta demande une entrevue ce soir-là dans le jardin. insiste pour qu’elle relève son voile, Pasquale Pasquale cherche de l’aide auprès de son ami © 1998 Alan Blyth Scène 2 est ébloui par sa beauté. Malatesta. Les domestiques commentent les Traduction: Marianne Fernée Dans un autre lieu de la ville, Norina feuillette Mandé par Malatesta, le “notaire” arrive, et drôles de choses qui se passent dans la maison. les pages d’un livre racontant un histoire ils rédigent un contrat de mariage. On a besoin Malatesta arrive et recommande à Pasquale Argument d’amour, mais parvient à la conclusion qu’elle d’un second témoin. Au même moment, le le moyen d’action discret approprié. Ensemble, n’a besoin d’aucun conseil en ce domaine. Elle pauvre Ernesto fait irruption. On le presse ils se rendront dans le jardin, prendront les Acte I apprend dans une lettre qu’Ernesto a été d’accepter. Il reconnaît la future épouse de amants sur le fait et demanderont réparation. Scène 1 déshérité, et qu’il projette de quitter Rome. Pasquale comme étant Norina, mais signe le Don Pasquale, un riche célibataire mais Malatesta arrive. Il réassure Norina en lui contrat sur les signes insistants de Malatesta. Scène 2 vieillissant, a décidé de se marier. Il a offert à expliquant son plan qui consiste à la faire passer Maintenant que la cérémonie est terminée, Ernesto donne une sérénade à sa Norina, et les son neveu Ernesto d’être son héritier à la pour sa propre sœur au cours d’un faux mariage “Sofronia” change rapidement de caractère. deux amants se trouvent réunis. Pasquale et condition que ce dernier épouse un bon parti. avec Pasquale. Pasquale sait que Malatesta a une Elle exige de son nouvel époux qu’Ernesto Malatesta les surprennent. Ernesto s’enfuit. Cependant, Ernesto refuse car il est amoureux sœur qui habite dans un couvent, mais il n’a puisse demeurer à la maison; elle veut de Pasquale décide de se débarrasser de sa de Norina, une jeune veuve appauvrie. jamais fait sa connaisance. Malatesta fait répéter nouveaux serviteurs et mieux payés; la maison nouvelle épouse, mais elle refuse d’être aussi Pasquale engendrera donc son propre fils à Norina son nouveau rôle. a besoin d’être redécorée. Pasquale, qui a le facilement renvoyée. Malatesta propose une et héritier. Il a demandé à son ami le sentiment d’avoir été trahi, est tout confus. solution, à la condition qu’il puisse faire Dr Malatesta de trouver une épouse qui lui Acte II comme il l’entend, que Pasquale accepte convienne. Malatesta arrive pour annoncer son Scène 1 Acte III immédiatement. Il somme Ernesto de sortir de choix en la personne d’une jeune fille ingénue, Ernesto est déterminé à chercher la consolation Scène 1 la maison et lui déclare que son oncle consent à qui a été élevée dans un couvent, belle comme dans un pays lointain. Il affirme qu’il Les nouveaux domestiques et les ouvriers ce qu’il épouse Norina, et qu’il lui accordera un ange – en fait sa propre sœur. Pasquale pardonnerait à Norina si elle trouvait le transforment la maison en un grand désordre. une large rente. Résigné, Pasquale demande à demande à la rencontrer immédiatement. bonheur auprès d’un nouvel amant. Pasquale est horrifié devant les factures. Lorsque Ernesto de faire venir sa future épouse. Mais Laissé seul, il exprime son enthousiasme “Sofronia” entre en tenue de soirée, il lui elle est déjà présente. Pasquale prend irrésistible à l’idée d’être le père d’une grande Scène 2 demande où elle se rend. “Au théâtre”, lui conscience de la duperie dont il a été l’objet, et famille. Malatesta présente à Pasquale sa sœur répond-elle. Quand il se met à lui faire des pardonne au jeune couple. Le mariage est une Ernesto trouve les ambitions de son oncle “Sofronia” qui n’est autre que Norina déguisée. reproches, elle le giffle. Le monde de Pasquale bonne chose, mais pas pour un homme âgé. risibles au premier abord, puis inquiétantes Elle fait semblant d’être intimidée de s’écroule. pour ses propres projets. Il est choqué rencontrer un homme, et répond avec docilité En quittant la pièce, elle laisse tomber la lettre Traduction: Francis Marchal 38 39 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 40

Andrew Shore est aujourd’hui considéré titre de Eugène Onéguine au Welsh National Dawson poursuit une importante carrière l’English National Opera (dans Billy Budd, comme le premier bariton bouffe d’Angleterre. Opera. Il s’est également produit à Seattle, internationale à l’opéra, au concert, en récital Wozzeck et Doktor Faust) et l’Opera Factory Depuis ses débuts à l’English National Opera Genève, Nantes, à l’Opéra de Stuttgart et à et au disque. Elle s’est produite dans Iphigénie (dans Don Giovanni). Parmi ses de Londres en 1988 où il a chanté les rôles de l’Opéra Bastille. Au concert, Jason Howard en Aulide, The Fairy Queen, Cleopatra e Cesare enregistrements figurent Baa Baa Black Sheep Falstaff, Dieg (dans The Making of the a chanté dans la Huitième symphonie de de Graun, Orlando, l’Orfeo de Gluck et de Michael Berkeley, Il Sant’Alessio de Landi, Representative for Planet 8 de Philip Glass), Mahler, The Kingdom d’Elgar, et Les troyens de Tancredi. Tout au long de sa carrière, elle a Candide de Leonard Bernstein, et Troilus and Papageno (La flûte enchantée), Monsieur Calcul Berlioz. Parmi ses enregistrements figurent The donné de nombreux concerts avec les plus Cressida de William Walton. (La belle Vivette), Don Pasquale et Gianni Student Prince, Song of Norway et A Little Night grands chefs internationaux, notamment Schicchi. Il a également chanté à Covent Music. Mehta, Barenboim, Giulini, Ashkenazy, La carrière de chanteur de Geoffrey Mitchell a Garden, à l’Opera North, au Scottish Opera, Gardiner, Mackerras, Andrew Davis, couvert un répertoire d’une remarquable au Glyndebourne Festival Opera, au Kent Diplômé du Royal Northern College of Music Harnoncourt et Marriner. étendue allant de la musique ancienne à la Opera et au Welsh National Opera, ainsi qu’à de Manchester (où il étudia grâce à une bourse Lynne Dawson a enregistré plus de soixante musique contemporaine. Elle prit son essor à la l’étranger au New Israeli Opera, au San Diego de la Peter Moores Foundation), Barry Banks disques parmi lesquels figurent Jephtha et Saul suite de plusieurs invitations à diriger que lui Opera, l’Opéra comique de Paris, et à Lyon, s’est imposé comme l’un des plus remarquables de Haendel, l’Orfeo de Monteverdi, Iphigénie offrit la BBC, et à une collaboration plus Montpellier, Amsterdam, Vancouver et ténors de sa génération. Parmi les rôles qu’il a en Aulide, Dido and Aeneas, le Requiem de étroite avec ses propres chanteurs. C’est ainsi Hambourg. Parmi ses enregistrements, on peut chantés figurent Tamino (Die Zauberflöte) au Mozart, Le songe d’une nuit d’été de qu’il fut amené à fonder le Geoffrey Mitchell noter Le barbier de Séville, Tosca, La bohème festival de Salzbourg, au Théâtre de la Monnaie Mendelssohn et Carmina burana de Orff. Choir avec lequel il a enregistré quinze opéras (réalisé par Chandos et la Peter Moores de Bruxelles et à l’Opéra de Leipzig, Nemorino pour Opera Rara. Jouissant d’une réputation Foundation) et L’affaire Makropoulos. (L’elisir d’amore) et Argirio (Tancredi) à l’Opéra Clive Bayley chanta le rôle de Claggart (Billy grandissante, ils ont d’autres projets avec la de Franckfort, Belmonte (Die Entführung aus Budd ) tandis qu’il était encore étudiant au BBC et des maisons de disques internationales. Jason Howard est diplômé du Trinity College dem Serail) à l’Opera Zuid, Nemorino (The Royal Northern College of Music où il avait of Music de Cambridge et du Royal College of Elixir of Love) au National English Opera, Tom obtenu une bourse (Peter Moores Scholar). Sa L’Orchestre philharmonique de Londres qui a Music (Opera School) de Londres. Les Rakewell (The Rake’s Progress), le rôle titre du réputation est déjà fermement établie auprès été formé par Sir Thomas Beecham en 1932 a prestations de cet artiste exceptionnel au Comte Ory avec le Glyndebourne Touring des grandes compagnies d’opéra en Grande- attiré au fil des années une série inégalable de Scottish Opera et à l’Opera North ont été Opera, le rôle titre de Candide au Chicago Bretagne. Par ailleurs, il se produit premiers chefs, dont Sir Adrian Boult, Sir John unanimement saluées par la critique. Il a Lyric Opera et Edgardo (Lucia di régulièrement en concert. Il a fait ses débuts au Pritchard, Bernard Haitink, Sir Georg Solti et chanté les rôles titres de Don Giovanni et des Lammermoor) au Welsh National Opera. Covent Garden de Londres en 1991 dans la Klaus Tennstedt. Parmi les chefs qui le dirigent Noces de Figaro (Scottish Opera), le rôle titre de création mondiale de Gawain de Harrison régulièrement à l’heure actuelle se trouvent son Billy Budd (Opera North), Ned Keene (Peter Considérée comme étant l’une des plus Birtwistle. Il a remporté d’importants succès directeur musical, Franz Welser-Möst, et son Grimes) à l’English National Opera et le rôle remarquables sopranos anglaises, Lynne avec l’Opera North (dans Jérusalem de Verdi), président, Bernard Haitink. 40 41 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 42

L’orchestre qui est depuis 1964 l’orchestre et des orchestres symphoniques. Il a donné la symphonique en résidence au Glyndebourne première espagnole de Peter Grimes à Madrid Gaetano Donizetti: Don Pasquale Festival Opera est devenu en 1992 l’orchestre et, en 1996, a dirigé la première mise en scène symphonique en résidence au Royal Festival espagnole de The Rake’s Progress. Il a aussi Hall. Il effectue aussi de vastes tournées – il a inauguré deux nouvelles salles de concert avec Fra le mie prime esperienze operistiche, ben e basso facendo a gara nella velocità ed agile été le premier orchestre à se rendre en URSS et une interprétation de la Neuvième symphonie cinquantanni fa, furono le rappresentazioni del articolazione del passaggio finale del rapido en Chine – et ses enregistrements ont remporté de Beethoven et un nouvel opéra avec Carmen. Don Pasquale di Donizetti (ci andai due volte) semiparlato. Ancor oggi rimango in avida maintes récompenses prestigieuses. Il s’est également produit en Italie où il a dirigé al Cambridge Theatre di Londra. Il grande attesa di questo geniale esempio di duettare. Ricciardo et Zoraide au Festival d’opéra de Mariano Stabile era il Dottor Malatesta, la Ma Pasquale è un lavoro meraviglioso in David Parry étudia avec Sergiu Celibidache et Pesaro (consacré à Rossini), mais il s’est aussi deliziosa Alda Noni era Norina, e un basso assoluto, perfetta unione di commedia e commença sa carrière comme assistant de Sir rendu en France, en Allemagne, en Belgique, britannico, Martin Lawrence, fino ad allora sentimento, frutto di un compositore che era John Pritchard. Il fit ses débuts avec l’English en Hollande, et en Suède où il a dirigé une sconosciuto, cantava la parte del protagonista. maestro in ambedue i generi. In quest’opera il Music Theatre et devint plus tard chef mise en scène très applaudie du Midsummer Lawrence fece del suo meglio in italiano, ma più illustre dei bergamaschi delizia l’ascolto con appointé du Städtische Bühnen Dortmund et Night’s Dream de Britten. persino a me – giovane com’ero – parve che numeri ispirati che si susseguono uno dopo d’Opera North. Directeur musical d’Opera 80 Hors d’Europe, David Parry s’est produit au Lawrence sarebbe stato più a suo agio se avesse l’altro. Arie, duetti e concertati trascinano il de 1983 à 1987, il est depuis 1992 le directeur Festival international de Hong Kong, a dirigé cantato in inglese e – per quanto l’opera mi discorso con un’energia ed invenzione musical fondateur du festival d’opéra l’UNAM Symphony Orchestra à Mexico, a fait piacque ( e a chi non sarebbe piaciuta irresistibili, comicità e profondità di sentimento contemporain Almeida Opera. une tournée consacrée à Carmen au Japon, et, altrettanto?) – avrei preferito sentirla nella mia impercettibilmente fuse. La storia della beffa Il poursuit une carrière très active à l’opéra en 1996, a dirigé une nouvelle mise en scène de lingua, giacché, novizio della lirica, avrei giocata al vecchio Pasquale per dargli una et dans les salles de concert. Son répertoire va Katya Kabanova au Festival de Nouvelle- potuto apprezzare la commedia nei suoi lezione ha certamente un lato più crudele; tant’è de Mozart et de l’opéra italien du début du Zélande. particolari anziché divertirmi in modo più vero che proprio nel momento in cui Sofronia XIXe siècle à Janácˇek, Britten et à la musique Il a réalisé un grand nombre generico. Più tardi l’opera venne allestita dalla (Norina travestita), che ha ‘sposato’ il vecchio contemporaine. En Angleterre, il a fait des d’enregistrements pour le label Opera Rara, le compagnia del Sadler’s Wells e le minuzie della gonzo, mostra al massimo i suoi artigli, si apparitions régulières à l’English National plus récent étant Rosmonda d’Inghilterra de trama finalmente vennero alla luce. Ma al accorge che l’impietosa commedia ha Opera et lors de concerts avec le Philharmonia. Donizetti, qui a remporté le prix Cecilia en Cambridge Pasquale fu così popolare che oltrepassato il segno; e tutto il tempo Donizetti En 1997, il a fait ses débuts au Festival de Belgique, et c’est chez Chandos qu’il a dirigé Columbia emise un disco a 78rpm del duetto presenta Pasquale come un personaggio Glyndebourne avec Così fan tutte. son enregistrements primé de Tosca, deux Malatesta/Pasquale dell’Atto III, che in teatro fondamentalmente simpatico malgrado la sua Il se rend fréquemment en Espagne où il disques d’aries operatiques, La bohème, era inevitabilmente bissato; ne c’è da stupirsene sciocca voglia di far da marito vecchio ad una s’est produit avec la plupart des troupes d’opéra Cavalleria rusticana et Pagliacci. poiché è uno dei punti più salienti non solo di donna giovane – e così, mentre lo deridiamo, quest’opera, ma di tutta l’opera buffa, baritono allo stesso tempo ci sentiamo in simpatia con la

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sua dabbenaggine. Nonostante la loro le semplici forme musicali e di estrarre fino Da allora in poi lavorò rapidamente e colibrettista Ruffini, il quale era convinto che insensibilità le macchinazioni di Malatesta e all’ultima oncia di umorismo da ogni prolificamente, componendo tra due e cinque l’azione si prestasse piuttosto a “parrucche e Norina ci divertono perche loro stessi sono situazione”. opere all’anno, sebbene abbia acquistato vera brache di velluto”. Donizetti, come già Verdi personaggi così incantevoli. Poi, in alcune delle Si dice che la composizione dell’opera abbia fama solo nel 1830, con Anna Bolena. dieci anni dopo con La traviata, fu costretto a pagine più eloquenti che Donizetti abbia mai richiesto a Donizetti non più di undici giorni di Pasquale è stato popolare fino dalla sua cedere. Con tipica modestia Donizetti scrisse composto per tenore, Ernesto, apparentemente lavoro, ma è probabilmente più esatto affermare prima rappresentazione a Parigi il 4 gennaio in seguito all’editore Ricordi: “Non crediate abbandonato dall’amata Norina, riversa i suoi che fu scritta in un periodo di tre mesi, a partire 1843 (la prima italiana fu alla Scala il che il successo sia stato dovuto solamente alla sentimenti in due arie appassionate. dall’ottobre 1842. Comunque sia, il 17 aprile). E che compagnia apparve in quella mia musica: essi (i cantanti) hanno tutti fatto a E’ quindi sorprendente che questa compositore scrisse più tardi che l’opera “mi è prima rappresentazione! Nientemeno che: gara per darle il loro massimo.” Qualunque sia straordinaria opera sia stata scritta da un costata immensa fatica per undici giorni”, Giulia Grisi, come Norina; Matteo Mario, stata la causa l’opera ebbe immediato successo compositore già esausto e oppresso dalla riferendosi probabilmente al lavoro d’impianto come Ernesto; Antonio Tamburini, come in Italia, e la sua popolarità si estese assai malinconia. Pasquale, composta nel 1843, è fra della composizione. Donizetti fu Malatesta e Luigi Lablache, come Don rapidamente a tutti i teatri lirici del mondo: le ultime di una sessantina di opere composte da indubbiamente facilitato dall’aver adottato parte Pasquale, tutti all’apice della loro carriera. Vienna, nel maggio del 1843 (fu per questa Donizetti. Due anni dopo averla portata a della musica già scritta per altri scopi, ma ebbe Mario e Grisi, marito e moglie: lui avvenente, rappresentazione che il compositore aggiunse il compimento era paralizzato; nel 1848 era lo spirito e la scaltrezza d’incorporarla nel nuovo lei deliziosa. Tamburini, a detta di tutti, era duetto “Cheti, cheti immantinente” (No more morto. Eppure, persino in questo suo già contesto senza evidenti slegature, cosa che altrettanto consumato come attore che words, not even whispers) che sarebbe presto morboso stato egli riuscì a dar vita a questo Handel, naturalmente, era stato altrettanto cantante. E in quanto a Lablache, egli era diventato famoso); Londra, nello stesso mese, capolavoro, cugino urbano dell’altrettanto capace di fare. probabilmente il basso più famoso del secolo, con gli interpreti della premiere; New York, nel geniale commedia rurale, L’elisir d’amore, del Donizetti nacque nel 1797 in umili colui che il critico britannico Chorley descrisse maggio del 1846. In questo secolo abbiamo 1832. Ancora più straordinario è che Donizetti circostanze, nonno e padre essendo operai come “preso in tutti i sensi, l’uomo più avuto una famosa ripresa al Metropolitan nel abbia parzialmente foggiato il proprio libretto, tessili. Il giovane Gaetano mostrò talento eccezionale che abbia mai visto sulla scena 1904, con Caruso nel ruolo di Ernesto, nel in collaborazione con Giovanni Ruffini. Esso musicale e parve essere destinato a diventare un lirica”. Nella parte di Pasquale lo stesso 1904 ci sono state rappresentazioni alla Scala deriva da un lavoro dimenticato, chiamato musicista al servizio della Chiesa, ma le scrittore lo definì come “il caro, sciocco eroe con Sobinov (Ernesto) e Giuseppe De Luca Ser Marcantonio, prodotto a Milano nel 1810, e ambizioni del giovane erano volte ad obbiettivi della farsa operistica”, ed uno che sempre (Malatesta); nel 1905 una ripresa al Covent per il quale Angelo Anelli scrisse il libretto. più secolari, più precisamente ad una carriera evitava la rozzezza o la grossolana imitazione, Garden con Maurel (il primo Falstaff) nel Donizetti saggiamente e drasticamente ridusse e in campo teatrale. I suoi maestri furono ricordandoci che la parte di Pasquale non ruolo di Malatesta e un notevole allestimento a semplificò la complessa trama ereditata da Giovanni Simone Mayr, anch’egli prolifico dovrebbe mai essere recitata da buffone. Glyndebourne nel 1938, con Stabile come Anelli, il che concesse – come già detto dal compositore di opere liriche, e Mattei, con il Donizetti avrebbe voluto che l’opera fosse Malatesta e Dino Borgioli come Ernesto. Nel distinto critico Ernest Newman – al quale studiò a Bologna. Donizetti scrisse la sua rappresentata in costume contemporaneo, ma dopoguerra, oltre alla ripresa al Cambridge compositore “maggiore possibilità di espandere prima opera nel 1818, quando era ventunenne. gli interpreti vi si opposero, e così il presunto Theatre, l’opera è stata ovunque in repertorio. 44 45 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 46

Nelle sue opere più tarde Donizetti ha duetto con Norina nell’Atto I, allorchè le fa coppia di amanti duetta all’ombra boscosa del costituito da servi che osservano, nel modo più aggiunto ai suoi doni melodici e ritmici un provare la parte che dovrà recitare per giardino di Pasquale. Questi ultimi numeri eloquente nell’Atto III, dapprima in coro nuovo elemento di armonia più avanzata abbindolare Pasquale, con la scrittura che segue possono apparire più convenzionali in termini mentre cercano di sbigarsela con la massa di tramite sottili modulazioni, così come ha ogni sfumatura di pensiero della coppia. La compositivi, ma oggetti nuovi che Norina ha cacciato appreso ad estendere i suoi numeri vocali ed a stessa Norina si annuncia in una vivida aria nel contesto dell’opera nel suo insieme nell’alloggio di Pasquale, poi in un pezzo variarli con un’ispirazione di nuovo conio che bipartita che delinea la sua personalità in modo formano il perfetto contrasto con le comiche squisito nel quale commentano gli strani tiene l’ascolto continuamente all’erta; mai infallibile. Altrettanto fa Ernesto in “Sogno buffonerie del duetto semiparlato, già traffici che avvengono nella casa. Donizetti come al punto in cui, nel duetto soave e casto”(Never again shall I find you), in menzionato, “Cheti, cheti, immantinente” non scrisse mai un solo passaggio tedioso, Pasquale/Norina nell’Atto III, Norina di colpo cui il suo melanconico sogno di felicità sembra (No more words, not even whispers) di com’è provato da questi stralci corali. si accorge di avere strafatto con il novello sfuggirgli quando Pasquale si prepara a Malatesta e Pasquale. Don Pasquale tira le somme di un genere che “sposo”. Dopo averlo schiaffeggiato si pente sposarsi, apparentemente spogliandolo della Donizetti evita schemi convenzionali aveva durato per più di un secolo. Il Falstaff di della sua azione e risponde cantando nel sua eredità. Poi, nel suo recitativo, aria e tralasciando di scrivere finali su larga scala. Verdi, scritto cinquantanni dopo, ovviamente relativo maggiore ai patetici commenti di cabaletta all’inizio dell’Atto II (“Povero L’Atto I termina con il già citato duetto per ha un debito verso Donizetti, ma a questo Pasquale in la minore (“E’ duretta la lezione” Ernesto!… Cercherò lontana terra… E se fia” Norina e Malatesta; l’Atto II finisce con un punto la composizione dell’opera lirica aveva (I chastise him far from gladly)). Ciò solleva la (Poor, lost Ernesto… I shall go, no more quartetto ben variato per i personaggi fatto molta strada. Adesso possiamo vedere e commedia dall’aria di sottile cattiveria creata returning… And if you ever…)) decide di principali; l’Atto III con un sestetto a lieto fine. sentire che Don Pasquale è una fine e non un dai giochetti di Norina per mettere sossopra la andare a cercar fortuna altrove. E’ questa una Un’altra novità in questo genere di opera principio, ma che sopratutto è un’opera da casa di Pasquale poco dopo aver preteso che scena splendidamente variata per un tenore concerne il recitativo: il compositore non usa godersi per la sua abbondanza d’invenzione e Sofronia è una fanciulla timida, uscita di fresco lirico, che richiede sfumature tonali e destrezza da nessuna parte uno strumento a tastiera, di carattere. dal convento. In effetti, com’è stato vocale (quali ci sono fornite da Tito Schipa nel preferendo fluttuanti accordi degli archi. Ciò commentato dagli studiosi donizettiani: “è la disco pioniere dell’opera inciso negli anni’ 30). crea una maggiore scorrevolezza di dialogo fra © 1998 Alan Blyth capacità di tenerezza di Norina che mantiene il Infine, nell’Atto III, Ernesto trova la felicità i numeri solistici. In effetti l’opera da’ suo senso dell’umorismo entro i limiti del e canta la più delicata delle Serenate, “Com’è l’impressione di essere stata scritta di getto in La trama buon gusto”. gentil” (The night is calm), con accompagna- un unico slancio d’ispirazione e Lo stesso Pasquale è un personaggio buffo mento di accordi sulla chitarra e con un coro d’immaginazione. Atto I piuttosto tipico, la cui musica è per la maggior invisibile che aggiunge atmosfera alla seducente Cos’altro? L’ouverture ci fa sentire in Scena 1 parte nella vena del rapido parlando. Malatesta romanza del tenore. A questo numero fa anticipo molte delle deliziose melodie Don Pasquale, un ricco ma attempato scapolo, è un tipo più mercuriale, cambiando carattere seguito un notturno-duetto in terze e seste distribuite per tutta l’opera, generando un ha deciso di prender moglie. Pasquale ha così come vuole la trama. In nessun momento intrecciate con l’amata Norina, “Tornami a piacevole senso d’anticipazione degli eventi proposto di nominare suo erede il nipote è la sua musica così adattabile come nel suo dir” (Come, say the words I long for), in cui la futuri. Il coro è usato meticolosamente, Ernesto, purché faccia un buon matrimonio. 46 47 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 48

Peraltro Ernesto rifiuta la proposta essendosi Atto II Atto III acconsentito a che egli sposi Norina e gli innamorato della squattrinata Norina. Scena 1 Scena 1 assicurerà un generoso vitalizio. Rassegnato, Pasquale intende procrearsi un figlio ed Ernesto decide di cercare consolazione in I nuovi servitori e gli operai stanno mettendo a Pasquale chiede a Ernesto di mandare a erede e ha chiesto al suo amico, il Dottor lontani paesi. Giura che perdonerà Norina soqquadro la casa. Pasquale è atterrito dalle chiamare la promessa sposa: ma ella è già Malatesta, di procurargli una moglie qualora ella trovi la felicità con un nuovo fatture. Quando entra “Sofronia”, vestita per presente. Pasquale si rende alfine conto del tra appropriata. Malatesta arriva annunciando la amante. uscire, le chiede dove sta andando. “A teatro”, nello in cui è caduto e perdona la giovane sua scelta: una giovane donna innocente, ella risponde. Quando Pasquale la rimbrotta, coppia. Il matrimonio è una bella cosa ma non allevata in un convento, bella come un angelo e Scena 2 lei lo schiaffeggia. Il mondo di Pasquale va in per un uomo anziano. giustappunto sua sorella. Pasquale chiede Malatesta presenta a Pasquale Norina sotto le briciole. d’incontrarla immediatamente e, rimasto solo, finte spoglie della sorella Sofronia. Norina Mentre esce, “Sofronia” lascia cadere una Traduzione: Marcella Barzetti esprime un entusiasmo irrefrenabile all’idea di finge d’intimorirsi all’incontro con un uomo e lettera d’appuntamento da parte di un amante diventare padre di numerosi figli. con aria dimessa risponde alle domande di anonimo che chiede d’incontrarsi con lei quella Ernesto trova le ambizioni dello zio Pasquale sulla vita ritirata da lei condotta. sera in giardino. Pasquale invoca aiuto Andrew Shore è ora riconosciuto quale il più dapprima risibili, poi allarmanti per il suo Quando Malatesta insiste perche Norina riveli dall’amico Malatesta. I servitori commentano insigne baritono-buffo britannico. Dal suo futuro, ed è sconvolto dalla notizia che il suo viso Pasquale è sopraffatto dalla sua gli strani traffici che avvengono nella casa. debutto nel 1988 con la English National Malatesta lo ha ingannato proponendo la sua bellezza. Malatesta arriva e consiglia a Pasquale una Opera i suoi ruoli hanno incluso Falstaff, stessa sorella come sposa di Pasquale. Malatesta fa entrare il “notaio” e viene via da seguire con la dovuta discrezione. Dieg (in The Making of the Representative for steso un contratto di nozze. E’ necessario Andranno insieme zitti zitti in giardino, Planet 8 di Philip Glass), Papageno (Il flauto Scena 2 un secondo testimone, e a questo punto sorprenderanno gli amanti e si vendicheranno. magico), Monsieur Calcul (La belle Vivette), In un’altra parte della città Norina sta irrompe nella stanza il desolato Ernesto Don Pasquale e Gianni Schicchi. Ha anche sfogliando un romanzo rosa, ma conclude che che viene costretto a prestarsi allo scopo. Scena 2 cantato con la Royal Opera, Opera North, lei non ha gran bisogno di essere istruita in Egli riconosce Norina quale sposa di Pasquale, Ernesto fa la serenata alla sua Norina e gli Scottish Opera, Glyndebourne Festival Opera, certe cose. Apprende da una lettera che Ernesto ma Malatesta insiste perche firmi il amanti sono di nuovo insieme. Pasquale e Kent Opera e Welsh National Opera, e è stato diseredato e che intende lasciare Roma. contratto. Malatesta li sorprendono e Ernesto fugge. all’estero con New Israeli Opera, San Diego Malatesta arriva, la rassicura e le propone Ora che la cerimonia è conclusa “Sofronia” Pasquale decide di liberarsi dalla sua novella Opera, l’Opéra comique a Parigi, e a Lione, d’impersonare sua sorella avendo progettato di di colpo cambia carattere. Impone al suo sposa, ma ella rifiuta di farsi mettere alla porta Nantes, Montpellier, Amsterdam, Vancouver farla convolare a finte nozze con Pasquale. novello sposo di far restare Ernesto in casa; avrà così sommariamente. Malatesta offre una e Amburgo. I suoi dischi includono Il barbiere Pasquale sa che la sorella di Malatesta abita in bisogno di nuovi servi, meglio remunerati; la soluzione, purche abbia mano libera, cosa a cui di Siviglia, Tosca e La bohème (per un convento, e non ha fatto la conoscenza di casa andrà rimessa a nuovo. Pasquale si sente Pasquale acconsente alacremente. Malatesta fa Chandos/Peter Moores Foundation) lei. ingannato ed è pieno di sgomento. venire Ernesto e gli comunica che suo zio ha e The Makropulos Affair. 48 49 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 50

Jason Howard si è diplomato al Trinity College National Opera; Tom Rakewell (The Rake’s studio della Peter Moores Foundation. Già ben La London Philharmonic Orchestra, costituita of Music e al Royal College of Music Opera Progress) e la parte del protagonista in Le comte affermato presso le principali compagnie liriche nel 1932 da Sir Thomas Beecham, ha attratto School. Interprete eminente, le sue presenze Ory per la Glyndebourne Touring Company ed britanniche, svolge inoltre une regolare attività nel corso degli anni una successione nelle stagioni della Scottish Opera e Opera in Candide per la Chicago Lyric Opera e la concertistica. Il suo debutto con la Royal incomparabile di primi direttori, tra cui Sir North hanno suscitato unanime consenso di parte di Edgardo (Lucia di Lammermoor) per la Opera è stato nel 1991, nella prima Adrian Boult, Sir John Pritchard, Bernard critica. Ha cantato la parte di protagonista in Welsh National Opera. rappresentazione dell’opera di Birtwistle, Haitink, Sir Georg Solti e Klaus Tennstedt. Don Giovanni e Le nozze di Figaro (Scottish Gawain, ed ha inoltre riscosso notevole Attualmente si alternano periodicamente sul Opera), in Billy Budd (Opera North) e Eugene Ritenuta una dei soprani britannici più successo con Opera North (Gerusalemme di podio il Direttore musicale Franz Weiser-Möst Onegin (Welsh National Opera), e quella di versatili e interessanti, Lynne Dawson svolge Verdi), English National Opera (Billy Budd, ed il Presidente Bernard Haitink. Ned Keene (Peter Grimes) per la English un’intensa attività in campo lirico, oratoriale, Wozzeck e Dr. Faust) e Opera Factory (Don Dal 1964 questo complesso è l’orchestra National Opera. Ha cantato a Seattle, Ginevra, concertistico e discografico al massimo livello Giovanni). I suoi dischi comprendono Baa Baa sinfonica stabile della Glyndebourne Festival Nantes e con Stuttgart Opera e l’Opera de la internazionale. Le sue prestazioni hanno Black Sheep, di Michael Berkeley, Il Sant’Alessio, Opera (Compagnia lirica del Festival Bastille. In campo sinfonico-vocale Jason incluso ruoli in Iphigénie en Aulide, The Fairy di Landi, Candide e Troilus and Cressida. omonimo) e dal 1992 del Royal Festival Hall. Howard ha partecipato alle esecuzioni Queen, Cleopatra e Cesare di Graun, Orlando, Inoltre, ha effettuato tournée in ogni parte del dell’Ottava Sinfonia di Mahler, The Kingdom di l’Orfeo di Gluck, e Tancredi. Nel corso della sua La carriera vocale di Geoffrey Mitchell si mondo ed è la prima orchestra britannica ad Elgar e Les troyens di Berlioz in forma d’oratorio. carriera concertistica ha spesso felicemente distingue per il repertorio eccezionalmente esibirsi nell’URSS e in Cina. Le sue La sua discografia include The Student Prince, collaborato con alcuni dei principali direttori ampio, che va dalla musica antica a quella reguistrazioni discografiche le hanno meritato Song of Norway e A Little Night Music. d’orchestra quali Mehta, Barenboim, Giulini, contemporanea. Tale fatto gli ha fruttato numerosi importanti premi. Ashkenazy, Gardiner, Mackerras, Andrew numerosi inviti della BBC ad esibirsi nel ruolo Diplomatosi al Royal Northern College of Davis, Harnoncourt e Marriner. di direttore e, in seguito, un’attività più David Parry ha studiato con Sergiu Music con una borsa di studio della Peter Lynne Dawson ha inciso più di sessanta impegnativa in sintonia con propri cantanti Celibidache ed ha iniziato la sua carriera come Moores Foundation, Barry Banks si è dischi che includono Jephtha e Saul di Handel, nonché la consequente formazione del assistente di Sir John Pritchard. Ha fatto il suo affermato come uno dei più valenti tenori della l’Orfeo di Monteverdi, Iphigénie en Aulide, Geoffrey Mitchell Choir. Dopo le prime debutto con l’English Music Theatre ed è poi sua generazione. I suoi ruoli hanno incluso Dido and Aeneas, il Requiem di Mozart, registrazioni su disco il complesso ha potuto diventato direttore stabile della Städtische Tamino (Die Zauberflöte) al Festival di Midsummer Night’s Dream di Mendelssohn e stabilire regolari rapporti di lavoro con la Bühnen Dortmund e di Opera North. Dal Salisburgo, la Monnaie e Leipzig Opera; Carmina burana di Orff. compagnis Musica Rara, per la quale ha 1983 al 1987 è stato direttore artistico di Nemorino (L’elisir d’amore) e Argirio (Tancredi) registrato ben 15 opere. Attualmente gode di Opera 80 e dal 1992 Direttore Musicale per la Frankfurt Opera; Belmonte (Die Clive Bayley ha cantato il ruolo di Claggart crescente reputazione grazie agli ulteriore fondatore del festival di opera contemporanea Entfuhrung aus dem Serail) per Opera Zuid; (Billy Budd) quando era ancora studente presso incarichi ricevuti dalla BBC e dalle case dell’Almeida Opera. Nemorino (The Elixir of Love) per l’English il Royal College of Music con una borsa di discografiche internazionali. Svolge un’intensa attività sia nel 50 51 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 52

sia in campo sinfonico. Il suo repertorio da va in Francia, Germania, Belgio, Olanda, e Svezia Mozart e l’opera italiana del Settecento a dove ha diretto con grande successo Il sogno di Opera in English on Chandos Janácˇek e Britten e la musica contemporanea. In una notte di mezza estate di Britten. Inghilterra ha diretto frequentemente alla Fuori d’Europa David Parry si è esibito al English National Opera ed in concerti sinfonici festival internazionale di Hong Kong, con con la Philharmonia. Nel 1996 ha debuttato al l’orchestra sinfonica UNAM a Città del festival di Glyndebourne con Così fan tutte. Messico e in una serie di rappresentazioni della Dirige spesso in Spagna nella maggior parte Carmen in Giappone. Nel 1996 ha diretto dei teatri lirici e con orchestra sinfoniche. Ha Katya Kabanova in un nuovo allestimento per diretto la prima spagnola di Peter Grimes a il festival della Nuova Zelanda. Madrid e nel 1996 il primo allestimento Ha iniciso numerosi dischi per Opera Rara, spagnolo della Carriera di un libertino, ha fra questi il più recente è quello di Rosmonda inaugurato due nuove sale di concerti con la d’Inghilterra di Donizetti, che ha vinto il Priz Nona sinfonia di Beethoven ed un nuovo Cecilia in Belgio; per Chandos ha diretto teatro lirico con la Carmen. Altre tournées l’acclamato disco della Tosca, due dische di l’hanno portato in Italia, dove ha diretto grandi arie operistiche, La bohème, Cavalleria CHAN 3004 CHAN 3003 Ricciardo e Zoraide al Festival Rossini di Pesaro, rusticana e Pagliacci.

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COMPACT DISC ONE Pasquale Pasquale Malatesta Heaven bless you! Oh heaven bless you! What happiness! Ah! You must contain your excitement. 1 Overture Malatesta Malatesta Calm down, I say, it’s dangerous. Act I He’s a blockhead! He’s a blockhead! It seems that God created her Pasquale Scene 1 She’s exactly what is wanted. to bring you joy at last. Ah, for pity’s sake, I beg you! A room in Don Pasquale’s house. In front, a large Let me try to describe her beauty: Pasquale my poor words must suffice, I fear. Malatesta door; smaller ones at the sides leading to other rooms. Her family? You must contain your excitement. Pasquale Pasquale (walking up and down with his watch in Malatesta Pasquale Mouth tight shut and ears wide open, Is wealthy and decent. his hand) I can hardly wait to hear. Ah, be kind, for pity’s sake. 2 Nine already; Pasquale Malatesta in a moment the good doctor will be coming. The name is…? Malatesta (with an air of mystery) (listening) Then listen. She’ll be here by midday. 4 Malatesta Listen… Surely… I must be dreaming Down from among the angelic host this paragon came floating, Malatesta. Pasquale (surprised ) just the whistling of the wind. No, really? You’ve a bitter pill to swallow, fresh as the golden lily Pasquale little nephew when I tell you! just when its bud is opening, Then you must be related? Malatesta (in confidence) I’m no donkey I assure you: eyes that are full of laughter, Malatesta (intentionally) You prepare yourself. I’ll outwit you or be damned. lips that make hearts beat faster, Distantly related, perhaps. I’ll fetch her straightaway. hair darker yet than ebony, Pasquale (embracing him) Malatesta (from outside) a smile that is charm itself. Pasquale 3 You are related? Oh bless you! May I join you? Pasquale Pasquale She is perfection! What happiness! Malatesta Malatesta 5 Pray enter, pray enter. Be still, be still my beating heart. She is my sister! Calm down, I say. Well then? Malatesta Pasquale Pasquale Oh, rapture! Malatesta Filled with a gentle innocence, Oh bless you! her soul is pure and simple, And when will it be granted Quiet now… Don’t be anxious. that I may see this jewel? Malatesta unrivalled in humility, But listen… Pasquale in kindness an example. Malatesta I am bursting with impatience. Gentle to all who are wretched, This evening I shall bring her here. Pasquale Have you found her? polite, sweet, unaffected, Pasquale Not a murmur… Malatesta it seems that God created her This evening? This minute! Malatesta She’s been found. to bring you joy at last. For pity’s sake, I beg you! Yes, but… 54 55 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 56

Pasquale Pray be seated. Pasquale Pasquale No more buts, no more buts… I shan’t give your a lecture, Yes, to a penniless hussy! I’m getting married. but I need your attention for a minute. Malatesta Ernesto Ernesto (aside) Is it true or is it not true If… Show respect to a lady’s misfortune: This is the limit. that about two months ago she is honest and she is virtuous. (to Don Pasquale) Pasquale I offered you the hand of a young lady You’re getting married? Just hurry, just hurry, of noble birth, wealthy and pretty? Pasquale lest I should fall down dead. You have made your decision? Pasquale (impatiently) Ernesto I say it and I repeat it. 6 Ernesto Ah! It is true. Quite unexpectedly My decision is final. I, Pasquale of Corneto, man of wealth and great distinction, passions inflame me; Pasquale Pasquale if I give in to them That I promised you in addition at this moment, here in person, Very well, prepare can announce with satisfaction, no one can blame me. a very good allowance and, to find yourself lodgings. The pains of ageing at my passing, all that is mine? I, Pasquale of Corneto, Ernesto touch me no longer: my intention to be wed. Ernesto You’d chase me from the house, then? I feel as if I were It is true. Ernesto twenty or younger. Pasquale You are joking. Pasquale Hurry my darling one, Your obstinacy Pasquale But I threatened that, let me embrace you! frees me from any obligation. Joking… What nonsense! if you should defy me, You make your own arrangements. You shall have beautiful Ernesto children to grace you; I would disinherit you and, I’m getting married. to crush what hopes were left you, No, no, you’re joking! I can see six of them, Ernesto I can see twelve of them, I would marry if I had to. Pasquale 8 Getting married? laughing and playing Ernesto You shall see tomorrow morning. for our delight. It is true. Pasquale I am old but far from finished 7 I’m a new man. Yes indeed, sir. and my powers are undiminished: Pasquale Now to speak to little nephew: I am well enough preserved Very well. Ernesto I’ll make the hare-brained puppy to try my hand at a romance. The offer that I made you two months ago, You are? see that I can’t be fooled with. Meanwhile you, my little darling, I make once more. Why here he comes. Pasquale must prepare to leave at once. (Ernesto enters.) Ernesto I am, sir, myself, sir, in person. Ernesto (aside) A timely meeting. I cannot. I love Norina: Ernesto All it needed was this madness I was just about to send for you. and my pledge has been given. You must pardon my amazement… to destroy our only chance! 56 57 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 58

9 Never again shall I find you, Malatesta, for example, Ernesto so full of heav’nly sweetness, dream chaste and simple, no never: is both serious and helpful. He approves? conquered the brave Sir Richard I longed to be united Pasquale (aside) with such profound completeness, with my beloved for ever. 12 Absolutely. Ah! The fates have conspired to thwart me: he swore that he would never Lost is my own adored one; think of another fair maid. Pasquale (aside) Ernesto by him who should support me. Ha, ha! Ha, ha! He’s just a silly dreamer! His opinion… Ah! I am cheated and betrayed. (She throws away the book.) Ernesto Pasquale Nothing is worth believing: 14 I too have seen how magical Now all is in confusion: Has been well and truly canvassed. what is the point of living? a timely little glance is. my dream has become illusion, Can it be right to pay I too have seen how passionate rather than see you suffering, Ernesto the price that I have paid? a smouldering romance is; dear one I bid you farewell. So, he warned you! Pasquale (aside) I know just how to please them, Yes, rather than see your suffering, Pasquale Our friend is quite astounded, exactly when to tease them, I bid you, my dear one, farewell. No, you’re quite wrong there, and worse than that, confounded! to wipe away a furtive tear he’s delighted and excited. or suddenly to sigh. Pasquale He stands there like a statue, For men have no conception A stubborn little blockhead! Ernesto (greatly amazed ) his heart about to break. of amorous deception; But there’ll be no more nonsense: What has happened? I don’t believe it… It’s right that he’s so worried, you only need to smile at them: the truth has really hit him. the lesson can’t be hurried; Pasquale (in confidence) they’re yours until they die. It’s clearly very painful: he’ll learn, the feckless fellow, You must keep the news a secret. I know just how to please them, his life has not been gainful, life’s bills must all be paid! The… you know… the… young spinster… exactly when to tease them, and all this is his own fault, Ha, ha, ha, ha! Not a word though! or suddenly to sigh. he knows that very well. 11 …is his own sister. Yes, I have learnt the secret The truth has really hit him: (They both leave.) of inspiring hopeless love. no more nonsense! Ernesto (greatly agitated ) She’s his sister! Did you say that? Scene 2 Ah! Yes, the secret of inspiring love! Ernesto She’s his sister! I’m full of adventure, A room in Norina’s house. 10 There’s one thing I must say briefly. I’m clever and pretty, Pasquale Norina (reading) I like to be witty, Pasquale She’s his sister. 13 With just one glance she pierced him, to laugh and to play. I’m entirely at your disposal. Ernesto right to his inmost being; If I lose my temper Ernesto He approves? kneeling before her and weeping, it’s never long lasting: Unadvised one can be mistaken: Pasquale ‘I am your champion’ he said. you’ll soon find me laughing speak to someone of your proposal. He approves. That glance, so laden with promise, my troubles away. 58 59 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 60

I’m full of adventure, Love commands me to renounce you. that I have a sister in a convent: Norina but really kind-hearted. I shall leave Rome this very day because he’s never seen you, We’re agreed then; now for action. 15 Still no sign of the doctor! and Europe as soon as possible. you can pretend to be her and Malatesta Oh what a nuisance! Farewell: I pray only I’ll present you, Yes, let’s plan the old man’s destruction. He told me in such a hurry for your happiness. forestalling other suitors. of some scheme he’s concocted Your Ernesto.’ He’ll see you and be done for. Norina for tricking Don Pasquale The customary nonsense. Norina 17 Am I to be haughty? that I hardly understood him, Norina How ingenious. Malatesta and now I’m waiting… But if he means it! (A servant enters, gives Norina a letter, and leaves.) Malatesta No. Malatesta In a trice he’ll be married: Ernesto’s writing… I’m trembling. Norina He shall not go, I assure you. Carlotto, my cousin, Am I to be gloomy? (Malatesta enters.) In just a moment I shall find him, will act as the lawyer. Malatesta (gaily) let him into the secret of what we’re plotting: What happens later… That’s your affair entirely. Malatesta Very good news, Norina. he’ll be delighted and stay with us to help. You turn into a witch, No, no, that isn’t what is wanted. The first stage of our plan has… Norina drive him to distraction… Norina Norina But what exactly, pray tell me, We have him at our mercy… Should I cry a lot? And then… Let’s forget all about it. are we plotting? Malatesta Malatesta Malatesta Norina No, no, no, no. What’s that? How come? To punish his nephew That’s right. I can see it. Norina for daring to oppose him Malatesta Norina (handing him the letter) Scream my head off? Don Pasquale has decided to get married. You’re amazing. Read this. Gloomy? Haughty? Malatesta (reading) Norina Norina No crying? I mustn’t scream? That much I’ve gathered. 16 I’ll find a way, on one condition: ‘My Norina, I write to you Malatesta that no harm befall my loved one; with death in my heart.’ Malatesta No, that isn’t what is wanted. I shall worry, nag and bicker, We can revive him. Well now, I, as his doctor, Let me tell you what I mean. that’s the way to win the day. ‘Don Pasquale, manipulated by that seeing that he was absolutely determined, You must play a simple maiden. two-faced scoundrel of a doctor,’ changed my tactics and quickly, Malatesta Norina thank you! to protect both you You should know that for Ernesto A simple maiden? ‘has decided to marry the doctor’s own sister. and Ernesto, I have but one wish, to see him happy; He has banished me from the house pretended to take his side. Our intention is to ensure Malatesta and disinherited me. Don Pasquale knows that Don Pasquale’s made to pay. I shall teach you how to do it. 60 61 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 62

Norina Norina spinning wildly round and round. to tell her in a letter I could give you quite a lesson. Like this… Very soon we’ll hear all that has happened. the cannon shots resound. To a wretched existence Malatesta Malatesta Little does the poor old fellow destiny calls me, far from her lovely presence. Put your head down, pout your lips out. Yes, brilliant. think he’s heading for a battle: 20 I shall go, no more returning, Norina Norina soon we’ll hear the bullets whistle to some desert undiscovered, 18 Onwards, upwards. Let me give a demonstration. and the cannon shots resound. there to spend my days in mourning Yes, it’s now or never. Onwards, upwards, for the loss of my beloved. Malatesta Malatesta it’s now or never. But, though mountains and seas lie between us, Yes, let’s see a demonstration. Yes, onwards, upwards. Forward march, yes, forward march, though cruel fortune tears us apart, Norina (pretending) It’s now or never. it’s now or never, there’s no power on earth, my sweetest, I’m a shy girl. Norina fate is calling me to bold endeavour. can erase you from my heart. 21 Malatesta My fate is calling me to bold endeavour. Norina And if ever you encounter one who awakens new emotion, Brilliant! Brilliant! Brilliant! Malatesta Bless you, thank you, bless you sir, good night. if you ever find the enchanter Ah! Forward march, yes, forward march. Yes, he will do as I command. Norina who can replace your old devotion, It’s now or never: I would never… Malatesta never fear that, in resentment, fate is calling me to bold endeavour. Brilliant, that is absolutely right. I’d accuse you of breaking your faith: Malatesta Soon we’ll hear the bullets whistle Yes, very soon we’ll hear the shots resound. if, at last, you find contentment, Brilliant! Brilliant! You’re so clever. and the cannon shots resound. Act II full of gladness I’ll wait for death. That is absolutely right. Norina Brilliant! Brilliant! That’s right! I shall go, no more returning, Look, his aged skull is grinning, Scene 1 to some desert undiscovered etc. Norina spinning wildly round and round. A room in Don Pasquale’s house (He leaves.) Thank you… Bless you… With revenge the day is crowned. Ernesto Bless you, sir… Good night. Though he’s in his second childhood, 19 Poor, lost Ernesto! COMPACT DISC TWO Malatesta he is daring to oppose me: Banished by my uncle, Scene 2 Put your head on one side. I have spoken and when he knows me with no one left to help me, he will do as I command. still I thought I had one friend: Pasquale (to the servant) Norina Onwards, upwards, and yet he, I discover, 1 After you have shown in Like this… it’s now or never; consumed by hatred, Doctor Malatesta Malatesta my fate is calling me to bold endeavour. was plotting my destruction. and his companion, Brilliant. Malatesta But my Norina… Oh heaven! don’t forget what I told you: Let me see you pouting. Look, his aged skull is grinning, I did the right thing admit no one at all. 62 63 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 64

Woe betide you if you Malatesta Quickly, don’t stand here: we must escape. Norina fail in your duty! Don’t be frightened: A man here! A man here! The scandal! Thank you, too kind. That’s all now: leave me. Do come nearer. Malatesta Pasquale (The servant leaves.) (Norina advances slowly, and Malatesta runs to Be brave now, don’t be frightened. Oh heavens, her hand’s so pretty! For a man in his seventies, Don Pasquale.) (hush though, my little bride must never know She was brought here without warning Pasquale (seeing that Norina wants to leave) Malatesta (aside) that! ) from the convent just this morning; Oh Doctor! Oh Doctor! Look, he’s done for already! one might say it’s her natural timidity, She’s so charming, so appealing: Norina (aside) that I’m sprightly and well preserved. but she’s easy to persuade. a delightful, simple girl! Oh, what a booby! And now that I’ve prepared my toilette… Pasquale and Malatesta Norina (aside) (strutting about) Malatesta Modest, charming, unaffected. I will teach you a little lesson Someone’s coming… Do you like her? Truly she’s a simple girl. that will set you in a whirl! Here they are. Pasquale In thee I place my trust, noble Venus. Norina (to herself ) Malatesta (aside) She’s enchanting; but, that veil is… I will teach you a little lesson She’s so cunning, so misleading! Malatesta Malatesta that will set you in a whirl. All too soon he’ll see her snarl! (leading Norina by the hand) She wouldn’t dare to address you Norina 2 Don’t be frightened, just believe me. Pasquale if her face were uncovered, Ah! Dear brother! It’s a marvel just to imagine I’m sure of that. Norina Look, I’m shaking! I might capture such a pearl. First ask her some questions, I don’t like it… (aside) Look, I’m shaking. find out if you are comfortable together, Norina I will teach you a little lesson then we shall see. Malatesta Ah! Dear brother! that will set you in a whirl! Just believe me. Pasquale Malatesta Malatesta All right then. Come on, take courage. Norina Don’t be frightened. Modest, charming, unaffected: (to Norina) Ah! Dear brother, please stay with me. she is truly a simple girl. Since you have been so gracious… Norina 3 There’s no need to be frightened; (getting his words muddled up) (Malatesta motions to Don Pasquale to keep out of I am feeling very lonely. this is Don Pasquale, sight.) Rather, since your good doctor… Malatesta my friend and protector, brother Malatesta… Malatesta But my dearest, you’re not alone here, a king among gentlemen. That is… I meant to say… I… Oh dear… Do come nearer. with your brother and Don Pasquale. (Don Pasquale bows.) Now, reply to his kind greetings. Malatesta (aside) Norina Norina He’s lost his head. I’m afraid! What’s that? A man? Alas, I’m ruined! (Norina curtseys, without looking at Don Pasquale.) 64 65 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 66

(to Norina) Malatesta (to Norina) (pointing to Don Pasquale) Malatesta (returning with the notary) You reply now. Dear Sofronia, Does this gentleman please you? Here is the lawyer. Norina (stepping forward and curtseying) would you take off your veil? Norina (glancing at Don Pasquale, who returns (Don Pasquale and Norina are seated. The Delighted. Thank you kindly. Norina (looking shy) the gaze) servants set out in the middle of the stage a table Pasquale (getting up and bowing) I dare not before a man. It’s embarrassing to say it… with the necessary writing implements. On the I’d imagine in the evening Malatesta Malatesta table is a bell. The notary greets everyone, sits down you would like to have company to amuse you. That is an order. Don’t worry. and starts to write. The Doctor is standing to the right of the Notary and seems to be dictating to Norina Norina Norina (timidly) him.) Not at all, sir. I can only obey. Yes. Malatesta In the convent we were alone all evening. (She takes off her veil.) (aside) You silly old idiot! 5 Agreement between the… etcetera, Pasquale Pasquale Sofronia Malatesta, Do you go to the theatre? (He looks at her, jumps up and steps back, as if Malatesta (turning to Don Pasquale) a resident etcetera, Norina frightened.) She’s yours now; she consents. the usual information, I do not know what that is, 4 Heaven preserve me! Pasquale (ecstatically) and on the other, etcetera, Pasquale of Corneto, etcetera, nor do I wish to. Malatesta Oh ecstasy! I’m filled with joy! Pasquale What now? Tell me… Notary My opinion entirely. Pasquale Norina (aside) Etcetera. But the time has to be passed An explosion inside my bosom. Just wait until you realize! in some way or other. Malatesta For pity’s sake, dear Doctor, Pasquale (to Malatesta) … the titles Norina speak to her…speak to her… Does she want me? Send quickly for the lawyer. in the customary order… There’s sewing, darning socks, doing embroidery I cannot get the words out, Malatesta and tidying the kitchen: sweating… and shivering… I’m dying! For this eventuality Notary the time passes quickly. Malatesta I brought my lawyer with me; Etcetera. Malatesta (aside) Come, I’m certain he’s in the anteroom: Malatesta What an actress! she’s well disposed towards you: I’ll go to fetch him. That both without condition, Pasquale (aside) I’ll ask her plainly. (He exits.) of their own volition, She really seems to suit me! (to Norina) Pasquale and with permission… (to Malatesta) Dearest sister, I beg you, Oh bless him! tell me… Would you like?… Well, briefly, Notary That veil, for pity’s sake! He does everything for me. …ission.

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Malatesta Notary (Whilst Norina is signing, Ernesto’s voice is heard Though your arrival is quite timely. Do undertake here most solemnly … ublic. at the door. Norina drops the pen.) The contract is completed, to live as man and wife. Pasquale Ernesto two witnesses are needed: Yes, your arrival is timely. Pasquale (to the Notary) … as sovereign mistress of the household, 6 You idiots, let me through here. May I present the bride now. Do you have that all down? and should be all and sundry there be held Norina Notary in veneration… Ernesto! Ernesto (astounded) Notary It can’t be! It’s all down. Malatesta … ation. Pasquale Ernesto! And he knows nothing! Malatesta (aside to Ernesto) Pasquale For goodness sake… That’s good. Norina … without qualification… (He goes to the left of the Notary.) Now I shall really have cause to be afraid! Ernesto Below it write this down: Notary Oh heavens!… Malatesta The above himself, etcetera, … ation. of all his worldly possessions, He might ruin all the plans we’ve made! Malatesta Pasquale his property and his furniture, Ernesto Be quiet! … henceforward and evermore. hereby disposes in favour I must get in! I must get in! Ernesto of the forementioned, etcetera, Malatesta and Norina (to Don Pasquale) Let me through here! Norina! beloved wife and counsellor Such generous behaviour Pasquale this very day one half. reveals how good you are. Malatesta It’s my nephew! Just do as I advise. Notary Notary Norina and Malatesta I have it. The contract is written. Ernesto Unless we’re very careful Pasquale Please sign it. I can’t believe my eyes! he’ll ruin the plans we’ve made! And states explicitly… Pasquale (signing with alacrity) Pasquale Ernesto Notary Ready and willing! My bride to be. … ly. (He ignores the others and immediately confronts Malatesta (leading Norina to the table with gentle Don Pasquale.) Ernesto Pasquale command ) Duty and honour sent me But this is past belief. … that she should be acknowledged… My dearest sister, come on now, once more to take my leave, sir. Malatesta (taking Ernesto aside) Notary you sign your name just here. The servants would prevent me Ah, there’s no time for explaining; … owledged. Notary like any common thief. if you don’t stop complaining Pasquale A witness must be missing: Pasquale (to Ernesto) you’ll really lose Norina … both privately and in public… we need one more I fear. Some private business… now and everything you had. 68 69 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 70

Norina Pasquale (with humility) Norina and Ernesto Forget that word entirely. A tricky situation! And will you grant it? My God, how can I stop myself Order, let me inform you now, The outcome could be bad! from laughing I don’t know. order, that is what I do. Norina Ernesto No. Malatesta Pasquale Sofronia his sister! Don’t worry, though, Oh Doctor! I think I’m going mad! Ernesto (laughing) I’ll tell her it won’t do. Ha ha ha ha ha ha! Norina Pasquale Norina (to Don Pasquale) Everyone must obey me now: It’s better to be kind to him; Pasquale (angrily) 8 A man of such decrepitude, inside this house my word is law. we need a name to add. What are you laughing at, impudent fellow? so fat and so repulsive, Leave here immediately! Malatesta (aside) Malatesta could never in all decency This is the crucial moment. Just follow my instructions, What did I tell you? Get out this minute! escort a girl in public. Pasquale be a clever, clever lad. Norina (with disdain) I need a young companion… But… But this cannot be so. (turning to the others) How so? (pointing to Ernesto) 7 So let the marriage contract Such vulgar, boorish behaviour So he shall be my champion. Norina No contradicting me! be finalized at once. I really cannot bear. Pasquale Yes? What? Silence, you blockhead! (He leads first Norina, then Ernesto to sign.) (to Ernesto) Oh! Such a thing, excuse me now, Silence, silence, quiet, silence! Notary (joining the couple’s hands) Stay with us. just cannot be allowed. I pronounce you man and wife. (to Don Pasquale) Pasquale (pointing to Ernesto) I’ll have to teach you Norina (coldly) He mustn’t… stay here… (As soon as she has signed the contract, Norina what manners are, I fear. Not allowed? I should?… You can?… He must!… takes on a natural and bold demeanour.) And why? Pasquale (dismayed) I should?… They are… Ah! Norina and Malatesta (aside) But Doctor!… Pasquale (resolutely) Ernesto and Malatesta (aside) The comedy begins. That is an order! Malatesta She’s doing very well. Pasquale Don Pasquale! Norina (mockingly) Norina (threatening Don Pasquale) New blood runs through my veins. That is an order? 9 I’ve used persuasion first, Pasquale (trying to embrace Norina) Pasquale (firmly) and tried to treat you gently, She’s altered! My darling! Yes. but soon, if you provoke me still, Norina (gently pushing him aside) Malatesta Norina I’ll take my hand to you. Slow down a moment: I’m astounded! Yes? Malatesta such ardour must be dampened. Pasquale (advancing towards Pasquale with affected kindness) See his terrified reaction, One has to ask permission. Completely changed! Listen, my dear, I beg of you: what a picture of petrifaction! 70 71 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 72

Show your mettle, Don Pasquale, Malatesta (aside) with drivers and with horses Pasquale No, don’t be frightened, or so dismayed. This won’t be peaceful either. fitting to our resources. When will you ever finish? Pasquale (stepping back in fright) (Two servants and a major-domo enter. Norina Pasquale Norina Would she?… Did I?… Am I dreaming? laughs.) And when you have quite finished… See that these matters are organized… Would she… really… hit me? Norina Ernesto and Malatesta (aside) Well done! Charming! Norina Three in total! Ha ha ha ha! I’ve only just begun yet. He’ll have a heart attack. Norina and Ernesto That is marvellous: Pasquale Pasquale Like a statue I shan’t be losing count. Let me speak… he is waiting, (to the major-domo) That’s fine! Norina stunned with terror, Now you there, from your uniform Malatesta (aside) See that these matters are organized. for a beating. it seems that you’re the butler. Brilliant! Ernesto (The major-domo bows.) Pasquale Norina Now I’m certain that I’m starting As from this very moment I feel as if I’ll choke. I’ll double what we pay. The house is simply filthy… to decipher the plot they’ve laid. Norina (The major-domo bows repeatedly.) Pasquale Norina We are no longer a joke. Now I’m certain that my darling, Pasquale The house is? (The major-domo and servants leave.) in the end, I can persuade. What?! Norina Pasquale Norina Redecorate it quickly; Pasquale I am glad I had a warning! Listen very carefully: this antiquated furniture Who’s paying? We shall see what happens next! these are my orders today. will have to be replaced. Norina You be careful, Don Pasquale, I have to have more servants: My personal requirements How silly! You are. go out and hire some new ones, include new clothes and diamonds; you take care, Don Pasquale, careful, Pasquale she’s the sort that you must avoid. attentive and observant, it’s urgent that my hair is dressed such as will grace our home. and find a manicurist. I tell you now in private, (A servant enters.) I’ll pay for nothing. Pasquale (to Norina, angrily) Pasquale Norina And when you have quite finished… Will you ever finish? Norina 10 I wish to see the servants, I ask you… What next? No? all of them here together. Norina (to Don Pasquale) I’ve only just begun yet. What? If… I… You… Pasquale (getting into a temper) (The servant goes out.) (to the major-domo) Malatesta (to Ernesto) No! Am I in charge or not here? Pasquale (aside) Two coaches in the stable Watch her! Listen! Brilliant! Norina (coldly) To see them for what purpose? as soon as you are able, Don’t you agree? That makes me laugh a lot, dear. 72 73 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 74

(forcefully) I’ll bring you to your senses by force, dearest brother, be more careful! Norina In charge where I’m the mistress? if I’ve no choice! I’m offended and I’m slighted: Yes, yes, yes, yes! it’s my sister you can’t bear. Malatesta (interrupting) Malatesta Ernesto and Malatesta Now, sister… Now sister, now sister, but brother, dear brother, Pasquale Ha, ha, ha, ha! Such a torment of a marriage Norina (to Don Pasquale, with mounting rage) be careful, be careful! I shall never learn to bear. Pasquale I’ve had enough now… Ernesto I’ve been cheated and disparaged: Yes, yes, ah! If this goes on much longer Ernesto (aside) I am furious past believing. I’ve been cheated and disparaged. he will have a heart attack! Well done! Norina and Ernesto Pasquale Malatesta Norina Don Pasquale, poor old fellow I beg you, be more careful. You are an idiot… You’ll see that I’m in charge here. is so angry he’s past repair. Norina and Ernesto Norina Malatesta Malatesta Oh Don Pasquale, poor old fellow. Now, sister… You idiot, you idiot! Yes Don Pasquale, poor old fellow, Pasquale must not see you two flirting there. Pasquale Pasquale Do be careful. I am furious past believing. I married you: I must be. Idiot? Idiot? 11 I’ve been cheated and disparaged: Pasquale (to Norina, ironically) Malatesta Norina I am furious, almost tearful; The house is simply filthy… Dearest brother, be more careful. A lout, I say, such a torment of a marriage Norina who’s senile and demented. I can never learn to bear. Norina and Ernesto Yes. He’s so angry, he’s past repair. Ernesto (aside) Ernesto (to Norina) Pasquale Brilliant! Now I can see it, I’m delighted; And antiquated furniture… Pasquale for a moment I was tearful, I’m so angry that I’m gasping: Pasquale Norina I am? but the love that we had plighted I shall perish for lack of air, drove you on to set a snare. Yes. I shall die for lack of air. Malatesta (to Don Pasquale, who is fuming with Norina (to Ernesto) Pasquale rage) Norina (to Ernesto) Now you see that I was slighted, We’ve fifty guests for dinner… I must implore you, brother… Now you see that I was slighted etc. that you need never have been so tearful, Norina Pasquale when the love that we had plighted Yes. Ernesto (to Norina) Now I see it I’m delighted etc. It’s you who are demented! drove me onward to set a snare. Pasquale Norina Malatesta (to Don Pasquale) New diamonds and new clothes, Malatesta Yes, you old idiot, You seem a little too excited, decorations and dinners… Do be careful with your flirting etc. 74 75 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 76

Act III Pasquale about to go out. She is dressed up, fan in hand.) Norina (ironically) I’ll go mad within the day. 14 Well good evening! You’re in a hurry; Do you really? Scene 1 tell me where: it’s most confusing. Servants Pasquale A room in Don Pasquale’s house. Women’s clothing Get the horses. Norina This is tiring. is scattered on the tables, chairs and the floor: I am going to the theatre, Bring the carriage. Norina (about to leave) dresses, hats, furs, scarves, laces, boxes etc. Don Quickly, quickly! where I find it more amusing. Pasquale is sitting in utter despair at a table This is boring. Pasquale groaning under bills and invoices. There are Pasquale (examining the bills) But your husband might be tempted Pasquale servants in attendance. From Norina’s apartments 13 Let’s see now: to the dress shop, to interfere in such a matter. I forbid you! comes a hairdresser with combs, creams, powders a hundred sovereigns. Thank you kindly! Norina and curling tongs. He crosses the stage and exits. The Carriage-builder’s six hundred. What a Norina bargain! He’d do better to be silent: I won’t listen. Servants Nine hundred and fifty to the jeweller’s. no one listens… Pasquale 12 Bring the diamonds, quickly! For the horses… To the devil with the horses, Pasquale (imitating her) This is tiring. Here’s the bonnet! Quickly, quickly! with this spending and with this marriage. To his chatter? Norina Let me take it. If she goes on much longer in this fashion This is boring. (The milliner enters, carrying a mountain of we’ll see old Don Pasquale Norina boxes, and goes into Norina’s rooms. A maid hands choosing between the madhouse and the He’d do better to be silent: Pasquale a fur coat and a large bouquet of flowers to a poorhouse. no one listens to his chatter. Shameless hussy! servant.) Whatever can it mean, all this nonsense? Pasquale (with mounting rage) Put all that inside the carriage. Norina (angrily) (thoughtfully) I advise you to be careful, Old man, I warned you… There’s a fan here. Going out late without me not to push me to the limit. A veil too. on our first day of marriage! To your bedroom now, this minute! Pasquale And flowers. Quickly! (resolutely) I insist that you shall stay. Shameless hussy! Give the order for the horses I must oppose her firmly Norina (slapping his face) Norina (mockingly) to be harnessed straightaway. and stop her going. Take this! Quickly, quickly! But… It must be admitted, When I tell you to be less heated and be quiet, I mean it kindly. Pasquale Pasquale the girl has a way of staring, Ah! ways of playing the diva! It’s your bedtime: you sleep soundly, With the house in such an uproar and we’ll talk another day. Norina I’ll go mad within the day. I’ll try to do it, come what may: At least then, if the attempt’s a failure… (She goes towards the door.) That will teach you not to shout. Servants Here she is. Be ready! Pasquale (barring her way) Pasquale (aside) Bring the carriage. (Norina runs in and, ignoring Don Pasquale, is I forbid you! 15 It is over, Don Pasquale:

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you are absolutely broken! and I’ll wake you up I shall wait outside the garden They started quickly! Tell us it all. There is nothing left to do now if you do what you’re told! behind the north-facing wall. ‘No!’ said the husband, ‘You’ll stay at home now’ but to crawl away and die. Pasquale Making absolutely sure ‘Really?’ his wife said, ‘I’m going out!’ Norina (aside) Divorce me, you terrible woman! that you have not been followed, Oh! Though he resisted, I chastise him far from gladly, You never shall force me let me in through the secret gate. she just insisted, but I have to treat him badly: to do what I’m told. We will be safe amongst the bushes. she is the sort that no one can touch! Now’s the climax of our story, Oh what a disaster! I meant to tell you that I shall let you know There is a nephew now’s the moment to do or die. If I don’t go under when I have arrived by singing a serenade. she seems quite fond of… (to Don Pasquale, with determination) it will be a wonder I love you. Be mine for ever. whom his old uncle So, I’m leaving… sublime to behold. Farewell.’ wants to get rid of. (furious) Our little mistress Pasquale Norina What an outrage! is young and fiery. Go, by all means, To bed now, dear husband… She’d like to see me dying of anger! But her poor husband but forget all thought of returning. Pasquale Ah! I am going mad, I cannot bear it! is old and weary. Norina I shan’t be your husband. (ringing the bell ) Hush now, be careful. I shall see you in the morning. I’ll send for Malatesta. Someone is coming. Norina (to the servants who appear) We can do well here… Pasquale To bed now, dear grandpa… Here! Go quickly to the Doctor’s, They spend so much! Every entrance will be locked… tell him that I am ill, Pasquale (The servants all leave.) Norina I shan’t be your grandpa. that I am dying! (aside) Till the morning, till the morning! Norina Malatesta (appearing at the door) This anxiety could kill me, 19 Pasquale To bed now, dear grandpa etc. We’re agreed then. there’s no denying! Every entrance will be locked. Pasquale (Pasquale exits.) Ernesto Norina I shan’t be your grandpa etc. I’ve got it. I’ll go to the garden (She is about to go, but turns back.) (Norina leaves. As she goes out she drops a piece of Servants to prepare my performance. Ah! Husband! paper which Don Pasquale picks up.) 18 Everyone endlessly coming and going! Malatesta 16 My husband, my sweetest, 17 Another bill for bonnets or for ribbons Ding ding from here, ding, ding, ding. While I am giving mine here. don’t be such a tyrant, which my dear wife has accidentally left here: Dong dong from there, dong, dong, dong. Above all, be docile, be pliant: (He reads the note.) Never a peaceful moment anywhere. make sure the old man doesn’t see you. remember that you’re old. ‘My beloved Sofronia…’ But it’s a nice house, all newly furnished. Dear grandpa, to bed now, What! What’s all this then? I’m quite astonished they spend so much. Ernesto sweet dreams fill your head now, ‘Between nine and ten o’clock tonight, When lunch was over, there was a scene then. Don’t worry.

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Malatesta Malatesta (to himself ) Pasquale Pasquale The moment you hear us coming… I’m delighted to hear it! My cheek can act as witness: You may think she is kindly: Ernesto (to Don Pasquale) it shows you what happened. I know she isn’t. A swish of the cloak and exit! But will you please explain… Malatesta Malatesta Malatesta Pasquale It is not true. I’m still not certain That’s it exactly. At least half a year’s income Pasquale that she is really guilty. Ernesto has gone on bonnets and ribbons! It’s completely true. Pasquale But that is nothing. I’ll see you later. Malatesta I’m so completely certain of her guilt now (He departs.) Malatesta I beg you, it is not proper that I called you here tonight expressly Malatesta What else then? to shout in that manner. that you might witness my act of vengeance. This unexpected summons Pasquale Pasquale Malatesta is sure sign that our note My dear young wife wished to go to the theatre: But it’s you who have made me All right… but on reflection… about the ‘nocturnal assignation’ I attempted to dissuade her; lose my temper! Pasquale has reached its target. she won’t listen to reason, she simply mocks me; I’ve thought of every detail… Just be patient. Here he is! Malatesta (calming himself ) I forbade it… and with her hand she slapped my Be seated. He’s so pale and so pathetic, face! Very well, continue. a shadow of his former self… (to himself ) Malatesta It makes me feel quite guilty… Malatesta (amazed) Keep it up, Malatesta! I’ll sit down then, but… speak quietly. What! She struck you? I must resume the doctor’s bedside manner. Pasquale Pasquale (walking towards Don Pasquale) Pasquale The slap is nothing. Oh no! 21 No more words, not even whispers: 20 Don Pasquale… Yes, she struck me, yes, indeed, sir! There is worse to come yet; straightaway now to the garden! Pasquale (solemnly and sadly) pray read this. Taking all the servants with us Malatesta (aside) Ah, brother… a living corpse (He hands Malatesta the letter.) to surround the woods and guard them. Here we go! is standing here before you. When we find the guilty couple, (to Don Pasquale) Malatesta (reading, feigning first surprise and then they will know that they’re in trouble: Malatesta You are lying: horror) at my signal they’ll be handcuffed Can you tell me exactly what’s the matter? Sofronia is the sort of woman I can’t believe it! and led off at once to jail. Pasquale (without taking any notice, almost who can see, who can hear, can do no evil: (aside) speaking to himself ) This must be just a pretext to remove her, Keep your face straight. Malatesta To think that, for the sake of being spiteful some tale that you’ve invented. (to Don Pasquale) I would say… let’s not be foolish: I am reduced to this! My poor sister, unjustly accused How is it that my sister, we two only should go down there; I’d give Ernesto a thousand Norinas! of being disrespectful! so well behaved and kindly… we should hide amongst the bushes

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and see everything we can there. Let’s consider how we act. I’m overtaking, Blinded by anger, If we catch them in flagrante, (He reflects a moment.) there’s no mistaking: old and unwary, we can threaten them with jail, Pasquale (imitating him) you’ll have to pay. caught in our snare but accept their solemn promise Not a strong move, it’s a wrong move… I will not tolerate he can’t get away. to conclude the sordid tale. But she slapped me, that’s a fact. the way you cheated me, (to Don Pasquale) Pasquale (Don Pasquale and Malatesta ponder.) your smiling tenderness, If they’re guilty of the crime, If I were to be so lenient, I would say that… beguiling tearfulness. I will take my sister home. See the moment comes it would be much too convenient… Malatesta (with sudden inspiration) Pasquale when I’m revenged on you: You are brilliant! Now I’m happy. Malatesta Now I have it! you’re in the trap I laid But remember, she’s my sister. Pasquale and there you’ll stay. Malatesta Pasquale Heaven bless you! I am the master, We’ll observe them She shall not come back to my house. Tell me, tell me quickly. I’m overtaking. in the darkness, I won’t compromise at all. there’s no mistaking, if they’re guilty… Malatesta you’ll have to pay. Malatesta We should both observe them Pasquale This affair is inauspicious: closely in the darkness We’ll observe them Malatesta (aside) in the darkness, your response must be judicious. till we’re absolutely certain: The poor thing’s dreaming if they’re guilty of the crime, if they’re guilty, Pasquale that he’s the master, you’ll take her back then. Be judicious, be expeditious, but… then I will take my sister home. but all his scheming I won’t have her in my house, no, no. Pasquale leads to disaster: Malatesta (aside) blinded by anger, While he enumerates Malatesta You are brilliant, you are brilliant! That’s a good plan, now I’m happy. old and unwary, the possibilities, But a scandal would annoy you… caught in our snare he cannot realize Pasquale Malatesta he can’t get away. that they are fantasies, That is nothing. Yes. While he enumerates or see, the simpleton, the possibilities, that he himself will fall Malatesta Pasquale he cannot realize into the trap he laid. And the shame might yet destroy you. Now I’m happy. 22 What a disaster, that they are fantasies, Pasquale (aside) Pasquale my little schemer: or see, the simpleton, See if I tolerate That is nothing. I am the master, that he himself will fall the way you cheated me, Malatesta you are the dreamer; into the trap he laid your smiling tenderness, It’s a wrong move, not a strong move. I’m catching up now, by break of day. beguiling tearfulness. 82 83 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 84

See the moment comes you can deny me now! our lives shall henceforward be one. Norina (resentfully) when I’m revenged on you: The breeze’s whispering voice Your tender voice shall quieten My dear husband, I’m most offended: you’re in the trap I laid is love replying, the tempest that rages inside me: there was no one else here. and there you’ll stay. the river’s murmuring play Ah! With you, my love, beside me, Malatesta (aside) What a disaster! my secret sighing. I shall not tremble alone, She’s so brazen. Malatesta and Pasquale Chorus I’ll tremble no more alone. Pasquale Ha, ha, ha, ha, ha! Ah! My sweet, say how (Don Pasquale and Malatesta creep through the gate, carrying lanterns. They disappear behind the That’s a barefaced lie! Malatesta you can deny me now! trees.) He’s hiding here, I know it. Caught in our snare, Ernesto (Don Pasquale and Malatesta search the grove, he can’t get away! My sweet, say how Pasquale while Ernesto slips quietly into the house.) 25 Here they are! Ready to pounce? Pasquale you can deny me now! There’s no mistaking, For when my life is over you will cry Malatesta Norina you’ll have to pay. to think that for your hard heart I did die. Ready and willing. I can only repeat that there was no one: you must have dreamt it. Chorus Pasquale (shining the lantern on Norina’s face) Scene 2 For when his life is over, then you will cry Who goes there? Pasquale to think that for your hard heart, yes, he did die. What are you doing so late out in the garden? A grove in Don Pasquale’s garden. On the left, steps Norina leading to the house; to the right a small gate in the Ernesto Robbers! God help me! Norina background. Forever faithful, still burning with desire, I came to take the air. Pasquale Ernesto (from outside) my heartless Nina, my heartless love. forever true, still burning with desire, Quiet! Pasquale (angrily) 23 The night is calm, my heartless love, for your sake I expire. Norina Take the air! You worthless woman! the April air like balm; Out of my house this minute, or I shall… the moon is high, For when my life is over, then you will cry God help me, God help me, God help me! to think that for your hard heart I did die. its radiance fills the sky. Pasquale Norina Hey, hey, my noble husband, Chorus Quiet! (Norina enters cautiously from the from the did I hear you correctly? The moon is high, summer house. She opens the gate for Ernesto, who Where’s your sweetheart? its radiance fills the sky. drops his cloak as he enters.) Norina Pasquale Get out, and quickly. Ernesto Norina and Ernesto Who? The heav’ns above 24 Come, say the words I long for, Pasquale Norina breathe the mystery of love; say you are mine forever; The shameless fellow you allowed Just wait a moment. my sweet, say how never to part, no, never, to make advances. This house is my house: I like it. 84 85 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 86

Pasquale Malatesta (softly to Norina) Malatesta (calling) Pasquale Hellfire and damnation! This is the moment when you lose your temper. Hey! Inside there. This is Norina? I can’t believe it! Go quickly for Ernesto. That means Sofronia’s… Malatesta (softly to Don Pasquale) Norina Don Pasquale, leave everything to me; Who can she be? Ernesto Malatesta only you must not contradict me. Malatesta 26 Here I am. …still in the convent. Have I carte blanche?… Ernesto’s bride, Norina. Malatesta Pasquale But we were married! Pasquale (softly to Malatesta) Norina (scornfully) Your uncle, the noble Don Pasquale, You do, sir. That crafty little flirt, that scheming hussy! will let you wed Norina, Malatesta with an allowance of That was all sham: Norina (aside) Pasquale (aside) Well done there, Doctor! four thousand crowns per annum. the part of the lawyer And now for some amusement. was played by my cousin. Malatesta (aside) Ernesto Malatesta (quietly to Norina) We’re getting somewhere. Ah, dearest uncle! Pasquale Amazed followed by furious – Is this true? Outrageous perfidy! Norina as we rehearsed it. Malatesta (to Don Pasquale) Malatesta (aloud ) That person here? It’s past believing! Norina and I under the very same roof! This is not the time to hesitate: We didn’t want you Dear sister, please listen: Just say yes. to do something foolish. I have your welfare at heart. No, never! I’d sooner leave. I want you to be spared humiliation. Pasquale (aside and forcefully) Norina Norina Heaven grant that she does! I object. Try to forgive us! Norina (angrily) Pasquale Ernesto What humiliation? Norina (changing tone) But… Wait a moment… And I consent. Please don’t be obstinate! (Don Pasquale follows the conversation with great If all this talk of marriage were just to trick me? (to Ernesto) Pasquale interest.) I need to have some proof first. Run and get your Norina; I can’t believe it! bring her here and I shall bless you both this Malatesta (aside) Outrageous perfidy! Malatesta instant. That’s excellent. I see that. Norina, Ernesto and Malatesta (aloud ) (to Don Pasquale) Malatesta Come now, be generous! A newly married woman He needn’t go far, his bride is waiting. Don Pasquale, you have no choice: Pasquale comes to live here tomorrow… we will have to perform a genuine marriage; Pasquale What a deliverance! Norina if not, she will not go. What’s that? Explain yourself… (to Norina and Ernesto) Another woman! Pasquale (to Malatesta) Malatesta 27 Let’s forget everything: you shall be married. Here to insult me? Do you really think so? This is Norina. Go with my blessing and heaven’s too! 86 87 CHAN 3011 BOOK.qxd 15/10/07 11:06 am Page 88

Malatesta which I really had to learn. Well done, well done, Don Pasquale! So this clever little person There’s a moral in this story. really did me a good turn. Norina (smiling) Servants There’s a moral in this story Yes, this clever little person that is easy to discover. knows far more than anyone. Let me tell you for the glory Norina of the charming god of love. There’s a moral in this story AKG When your old wits start to soften, that is easy to discover. you might fall for someone younger: Let me tell you for the glory but it happens all too often of the charming god of love. that your troubles have just begun. When your old wits start to soften, Ernesto and Malatesta you might fall for someone younger: Yes, the moral was a lesson but it happens all too often Don Pasquale had to learn. that your troubles have just begun. From this clever little person Servants who knows more than anyone. Yes, Don Pasquale had to learn. Pasquale Yes, the moral was a lesson © 1998 David Parry

Andrew Shore

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Chandos 20-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 20-bit recording. 20-bit has a dynamic range that is up to 24dB greater and up to 16 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’. Jason Howard Barry Banks Producer Brian Couzens Sound engineer Ralph Couzens Assistant engineers Peter Newble and Richard Smoker Editor Peter Newble Recording venue Blackheath Concert Halls; 15, 17, 18, 20 & 21 November 1997 Operas administrator Sue Shortridge Repetiteur/Staging assistant Duncan Williams Language adviser Charles Kilpatrick Front cover Photo of Andrew Shore as Don Pasquale in Opera North’s 1990 production of Don Pasquale (photographer: Donald Cooper) Back cover Photo of David Parry Design montage D.M. Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed P 1998 Chandos Records Ltd C 1998 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Lynne Dawson Clive Bayley Printed in the EU 90 91 CHAN 3011(2)

SOLOISTS/LONDON PHILHARMONICORCHESTRA/PARRY DDD TT 54:49 TT 72:13 Printed in the EU CHAN 3011(2) COMPACT DISC ONE COMPACT COMPACT DISC TWO TWO DISC COMPACT 1998 Chandos Records Ltd. c bass tenor soprano baritone baritone DIGITAL Clive Bayley Bayley Clive 1998 Chandos Records Ltd. p CHANDOS (1797–1848) England . , an elderly bachelor Shore ...... Andrew , friend of Don Pasquale, , friend of Don conductor Essex .

, Don Pasquale’s nephew...... Barry Banks Pasquale’s , Don , a young widow, a young Dawson ...... Lynne bit 20 A Notary...... Dr Malatesta Dr and good friend of Ernesto Howard ...... Jason Ernesto Norina Gaetano Donizetti Gaetano Pasquale Don and the Ruffini Giovanni acts, text by buffa in three Opera after A. Anelli composer, Parry David translation by English Pasquale Don Choir Mitchell Geoffrey Orchestra London Philharmonic Parry David CHANDOS RECORDS LTD. Colchester

DONIZETTI: DON PASQUALE CHANDOS CHAN 3011 INLAY BACK.qxd 15/10/07 11:08 am Page 1 15/10/07 11:08 INLAY BACK.qxd CHAN 3011