Archive for October, 2017

Don Pasquale: Bumbling in Hollywood

Saturday, October 7th, 2017 | Permalink

Re-imaginings of old operas sometimes work; many times, they don’t. When the Metropolitan Opera set Richard Wagner’s Parsifal in Nazi Germany, for example, the depravity in the second act resonated with contemporary audiences but the spiritual majesty in finding the Holy Grail in the third did not.

The Minnesota Opera’s production of Gaetano Donizetti’s Don Pasquale witnessed on Social Media Preview Night (October 5, 2017) needn’t worry about upsetting anyone’s moral convictions, however. Subtitled “A Toast to Tinseltown,” this version pulls all the comedic stops in celebrating the opera buffa on which it is based.

But resetting a mid-19th century Italian opera in 1950s Hollywood creates a problem. Do the operatic conventions based upon the stylized shenanigans of commedia dell’arte fit into the mores of Hollywood’s Golden Age? The answer: surprisingly well.

Casting the eponymous main character as a fading film star a la Douglas Fairbanks or Errol Flynn provides some amusing film clips of his failures to recapture old glory that accompany the overtures preceding each act. And re-imagining Norina in the conniving servant’s role as a sultry starlet renders the egotistic Don’s marital comeuppances funnier and more believable.

However, the plot of the Don’s cutting off his lovesick nephew’s allowance to sire a proper heir addresses the economic concerns of Risorgimento Italy instead of the Babylon of Hollywood. Anyone with a passing acquaintance of pre-nuptial agreements and equal property settlements knows the paradise of eternal sunshine and plastic surgery pays little shrift to the financial plights of impoverished lovers.

Despite the plot’s unlikelihood, the performers capitalize upon the comedic potential in their characters. Craig Colclough makes a sprightly, foppish, yet sympathetic Don Pasquale. Andrew Wilkowske plays the role the conniving Doctor Malatesta to an over-the-top T. And David Walton (the pining Ernesto) and Susannah Miller (Norina/Sofronia) combine to create an empathetic pair of lovers. All of them (particularly Miller and Walton in the love duet) and the supporting players and chorus make this perhaps the most melodic of Donizetti’s operas.

If you go expecting a satire on Hollywood, you might be disappointed. If you enjoy beautiful music, colorful sets, and a frothy romantic farce that uses the mythos of Tinseltown to spoof the foibles of advanced middle-age, you’ll experience a laugh-filled evening of entertainment. Performances take place on October 7, 10, 12, 14-15, 2017. Enjoy!