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Chan 3011 front.qxd 15/10/07 11:04 am Page 1 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) Don Pasquale AKG Opera buffa in three acts, text by Giovanni Ruffini and the composer, after A. Anelli English translation by David Parry Don Pasquale, an elderly bachelor ..............................................Andrew Shore baritone Dr Malatesta, friend of Don Pasquale, and good friend of Ernesto ..........................................................Jason Howard baritone Ernesto, Don Pasquale’s nephew ..........................................................Barry Banks tenor Norina, a young widow................................................................Lynne Dawson soprano A Notary ..............................................................................................Clive Bayley bass Geoffrey Mitchell Choir Gaetano Donizetti London Philharmonic Orchestra Nicholas Kok • Brad Cohen assistant conductors David Parry conductor 3 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 4 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: Recitative and Duet. 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 Aria 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 4 5 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 6 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 6 7 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 8 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 Bergamo’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, duets 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 opera buffa, 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 8 9 CHAN 3011 BOOK.qxd 15/10/07 11:05 am Page 10 most plangent music Donizetti ever wrote for taken Donizetti not more than eleven days, but premiere in Paris on 4 January 1843 (the best for it.’ Whatever the cause, the work was his tenors, he makes Ernesto, apparently it is probably nearer the mark to say that it was Italian premiere followed, at La Scala, on an immediate success in Italy, 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 arias. October 1842. Even so, the composer later performance enjoyed: Giulia Grisi as Norina, world – Vienna in May 1843, for which the How surprising then that this astonishing wrote that ‘the opera cost the immense fatigue Matteo Mario as Ernesto, Antonio Tamburini 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 Luigi Lablache 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 operas was adapting a deal of music that he had Tamburini, by all reports, was as accomplished York in May 1846.