L.A. Opera Ruth Ann Swenson and
Greg Fedderly star in the L.A. Opera’s production
of Donizetti’s "Don Pasquale."
By John Mangum
Daily Bruin Contributor
Los Angeles Opera’s first staging of “Don
Pasquale” in 1995 ranks among the company’s best.
When L.A. Opera revived that production April 11 at the Dorothy
Chandler Pavilion, it was no pale imitation of the earlier success
““ it delighted audiences in its own right.
With a terrific cast, imaginative direction, sumptuous sets and
lively orchestral support, the evening did justice to Italian
composer Gaetano Donizetti’s 1843 comic masterpiece. The
opera recounts how Don Pasquale learns a lesson about trying to
stand in the way of love.
Pasquale refuses to let his nephew Ernesto marry Norina, a
washer-woman, and decides to disinherit the young man by taking a
wife himself.
When Pasquale’s friend Dr. Malatesta, becomes aware of
what’s happened to Ernesto, he decides to trick the old man
into marrying Norina, and he introduces her as his shy, demure
sister, fresh from a convent.
Before Pasquale’s signature on the fake marriage contract
dries, Norina is busy behaving badly, spending his money on jewels,
carriages and servants. Pasquale finds a note to his
“wife” inviting her to a secret meeting in the garden
and vows to catch her. When Pasquale discovers her and Ernesto
there, Malatesta reveals the deception and Pasquale, happy that his
dreadful wife isn’t real, relents and gives his blessing to
his nephew and Norina.
With its disguised characters and secret moonlight meetings, the
story is full of comic potential. Steven Lawless, director of the
revival, realized most of this potential in a production that gets
funnier as it goes along.
 L.A. Opera Sir Thomas Allen plays Dr.
Malatesta in the L.A. Opera’s revival production of "Don Pasquale."
At the center of this is the Don Pasquale of comic bass, Simone
Alaimo, whose deft portrayal of the title character is hilarious,
especially when Pasquale finds out that his wife is more than he
bargained for. Alaimo strikes a fine balance as Pasquale from his
bewildered reaction to Norina’s bad behavior to his drunken
bravado after discovering.
The bass also handles Pasquale’s difficult and abundant
patter ““ a technique involving the rapid singing of syllables
that Donizetti and his contemporaries used for comic effect ““
expertly.
Norina, portrayed by acclaimed soprano Ruth Ann Swenson, lives
up to her reputation. Her performance is lively, delivering a
deliciously nasal voice with great vigor and spirit in her role as
the demure convent girl.
Tenor Greg Fedderly, an L.A. Opera stalwart, brings a great deal
of ardor to the role of Ernesto. Though a voice announced over a
loudspeaker that he was suffering from a sinus infection, Fedderly
sounded fine.
The Dr. Malatesta of baritone Sir Thomas Allen rounds out the
cast. Like Alaimo, he brings off his part with great animation and
the requisite vocal agility.
The sets and costumes, designed by the legendary Jean-Pierre
Ponnelle, are quite opulent for Donizetti’s modest comedy and
include a clever rooftop scene as well as a lush garden for the
finale.
Conductor Emmanuel Joel led the Los Angeles Opera Orchestra and
Chorus in an energetic rendition of Donizetti’s score.
Principal trumpet David Washburn excelled in his long solo at the
opening of the opera’s second act.
The performance lived up to its earlier counterpart in every
way, and is certainly worth a visit from anyone who enjoys good
singing, good acting or a good laugh.
OPERA: L.A. Opera presents “Don
Pasquale” April 18, 24, 27 and 29 at 7:30 p.m. and April 21
at 1 p.m. at the Dorothy Chandler Pavilion. Ticket prices range
from $28 to $148, with $20 student and senior rush tickets
available one hour before curtain. For more information call (213)
972-8001 or visit www.laopera.org.