For the final work of its 80th season, Pittsburgh Opera is presenting Chuck Hudson’s novel “Hollywood” spin on Donizetti’s Don Pasquale, and its first performance last night delighted a surprisingly slim audience at the Benedum in an evening of song and comedy that seemed to end as quickly as it began. With effective lighting, makeup and costume designs, silent movie styled projections and one or two minor tweaks to the text, the action of the 1834 opera is moved to a few days in the life of an aging, has-been actor/director in 1950’s Tinsel Town in a manner which is thoroughly entertaining in all particulars.
The title character, though reduced to box-office poison, has retained sufficient wealth to hold over the head of his wayward, love-sick nephew and heir, Ernesto. The old bachelor threatens to disinherit the young man through a late life marriage, and enlists the aid of his friend, Dr. Malatesta, in finding a suitable bride. Unable to talk the old gentleman out of his
Don Pasquale (Kevin Glavin) prepares to tell his nephew Ernesto (Javier Abreu) a secret
idea, Malatesta pretends to help, and suggests his own sister as a suitable prospect, describing her as a demure young beauty straight from the convent. Far from being a novice or his sister, the proposed bride is Ernesto’s love, Norina, who agrees to a mock marriage ceremony. She holds her “husband” at bay – censors of 1834 would have had it no other way – and proceeds to drive the old man to despair as a bad-tempered spendthrift. Once sufficiently desperate for his old freedom, Pasquale is told he’s been duped, and with great relief he hands Norina and a generous allowance back to Ernesto on a silver platter.
Such slim a plot can withstand a little tinkering, since the music’s beauty prevents any serious damage. Words and still photography can’t sufficiently describe how effectively such touches as keeping Pasquale in “black and white” –against an increasingly Technicolor background –work, or how cleverly the silent movie asides, sight gags and other bits of fun make Donizetti’s score shine even more brightly than it already does. Gary Thor Wedow has conducted Hudson’s production before, and he made that evident with an almost faultless rendition of the orchestration. He and the instrumentalists received a well-deserved ovation.
Local favorite (and native) Kevin Glavin is Don Pasquale in this, his 43rd production with Pittsburgh Opera since his company debut in 1985. The basso buffo has a voice that belies the years, and he has befuddled down to an art form. He sang the role with his familiar dexterity, and switched comedy into palpable pathos on a dime in the pivotal scene that has Norina give Pasquale’s face a resounding slap. His scenes with the scheming Dr. Malatesta were
Dr. Malatesta (Joshua Hopkins) and Norina (Lisette Oropesa) solidify their plan
highlights of an evening that was full of them. The Canadian baritone Joshua Hopkins, in his company debut as the second named character, made an exceptionally fine first impression. His voice is one of great power and warmth, and his comedic timing is excellent. The incredibly complex patter song he sang with Glavin (twice) was met with roars of applause.
Lisette Oropesa is the production’s Norina. She delivered exactly what was expected; perhaps the finest performance of a soprano heard in the Benedum since the last time she was here. She knows how to modulate her large, brilliant voice to the requirements of the part without slighting the role in any way, and acts with a comic flair equal to the dramatic intensity which has been winning her increasingly glowing acclaim in heavier roles. She has astonishing control of a pitch-perfect trill which she can sustain almost to the length of the train on one of the gowns she wore last night – and that flounce stretched half the width of the stage, turned a corner in the wings and came back on again. Her every tone, every gesture, were operatic magic at its best.
Javier Abreu, a Resident Artist with the company some years ago, sang the tenor role of Ernesto. His voice is warm, if rather light, but he wisely doesn’t force to make a larger sound. He phrases well, and acts the part with comic results. He was heard to best advantage in the brief but lovely duet with Norina which comes late in the evening. Tyler Zimmerman sang the Notary’s few measures and added greatly to the comedy element. Among the “supe” characters added to the ensemble, Ian Christiansen as Max, Pasquale’s butler, added just the right touch to recall Harvey Korman as Carol Burnett’s “Nora Desmond” foil in the TV show’s “Sunset Boulevard” parody skits.
The chorus, under Mark Trawka, was, as usual, a highly entertaining group of talented singing actors, well choreographed in the vivacious action this production requires, and costumed as celebrities of the era. Some were more recognizable than others, but all sang and acted their parts as a finely tuned ensemble, and added much to the scenes in which they appear.
A-lister’s party at the Pasquale’s house
The large number of empty seats came as an inexplicable disappointment. This final production of Pittsburgh Opera’s current season is also one of its best, and hopefully the remaining performances will draw fuller houses. This reviewer has every intention of seeing it again simply to enjoy another evening (maybe two) of tunefully fun entertainment before the long wait for next season begins.
For tickets, full production details and more, visit Pittsburgh Opera.
The Artistic Team for Don Pasquale –
Conductor, Gary Thor Wedow; Stage Director, Chuck Hudson; Scenery Designer, Peter Nolle; Costume Designer, Kathleen Trott; Projection Designer, Doug Provost; Lighting Designer, Thomas C. Hase; Wig & Makeup Designer, James D. Geier; Assistant Conductor, Glenn Lewis; Chorus Master, Mark Trawka; Assistant Coach, James Lesniak; Assistant Director, Matthew Haney; Stage Manager, Cindy Knight
David Bachman Photography
A Pittsburgh native, George B. Parous began his studies of music and the ‘cello in grade school before his interests turned to opera, its performers and history while in his teens. He has been acknowledged as a contributor or editor of several published works (the first being “Rosa Raisa, A Biography of a Diva,” Northeastern University Press, 2001), and is currently working on his own biography of the German-American dramatic soprano, Johanna Gadski, who sang at the Metropolitan during the “Golden Age of Opera.” A retired IT Analyst, he is an avid genealogist, and has traced his maternal line to 8th century Wessex, England. He’s been a contributor to Pittsburgh in the Round since 2014.
Categories: Archived Reviews