Donizetti was sometimes fond of bragging about the speed at which he composed his operas, and Don Pasquale was no exception. Even if this comic masterpiece was not written quite as speedily as he boasted in some of his letters, it was certainly composed in a concentrated spurt of creativity and it sparkles with all the energy that implies. This energy makes it easy to forget that Don Pasquale is very much a late work, written when he had nearly 70 operas under his belt; if his prodigious work list shows his shift towards serious pieces, comedy was never far away from his mind. By neat coincidence, Don Pasquale followed exactly ten years after L’elisir d’amore, and together the two works have remained his most popular.
By a small margin, Don Pasquale has the more bitingly cynical satire, but both works are humanised by the composer’s characteristic deep pathos. Don Pasquale represents a musical advance in some respects, not least in its recitatives, accompanied by strings rather than keyboard as per opera buffa tradition. That tradition is an important part of the work’s make-up, for it is steeped in Italian operatic convention. The more cosmopolitan styles that had been practiced half a century earlier in Vienna make such labels as ‘the most Mozartian of Donizetti’s operas’ a little misleading here, despite the element of social commentary in Don Pasquale. As the Donizetti scholar William Ashbrook has said, this opera is supremely Donizettian.
But Donizetti’s outlook was cosmopolitan, too, and indeed Don Pasquale was composed for the Théâtre Italien in Paris, with its leading quartet of singers in mind — three of whom had created Bellini’s I puritani. Its premiere in January 1843 marked the start of the composer’s last period of health — before the year was out he began to suffer the mentally crippling effects of his syphilis and he would write only two more operas.
Previous engagements: Répétiteur (Manon Lescaut, Puccini, Liceu Barcelona), Répétiteur/Assistant Conductor, Italian Coach (Un ballo in maschera, Verdi, Bolshoi Theatre Moscow), Répétiteur (Ricciardo e Zoraide, Rossini, Rossini Opera Festival Pesaro).
Forthcoming engagements: Répétiteur (L’Italiana in Algeri, Rossini, Liceu Barcelona; Don Giovanni, Mozart, Semperoper Dresden).
Previous engagements: Director (La traviata, Verdi, Syracuse Opera); Assistant Director (Turandot, Puccini, Vancouver Opera); Production Stage Manager (La bohème, Puccini, Pittsburgh Festival Opera).
Forthcoming engagements: Assistant Director (Die Zauberflöte, Mozart, Glyndebourne Festival Opera).
Stage & Costume Designer
Angela Giulia Toso
Previously at WFO: Set Designer Assistant (Risurrezione, Alfano, 2017)
Previous engagements: Costume Designer (La bohème, Puccini, Firenze Opera/ Maggio Musicale Fiorentino), Costume Designer Assistant (Festival International d’art lyrique d’Aix en Provence), Set and Costume Designer Assistant (Festival Internacional de Ballet de Cali, Colombia).
Previously at WFO: Un Mujich (Risurrezione, Alfano, 2017), Sparafucile (Rigoletto ShortWork, Verdi, 2017).
Previous engagements: Sarastro (Die Zauberflöte, Mozart, Lyric opera studio Weimar), Claudio (Agrippina, Handel, Croatian National theatre).
Forthcoming engagements: Bass Soloist (Salut au Monde, Milko Kelemen, Music Biennale Zagreb).
Previous engagements: Yamadori (Madama Butterfly, Puccini, Glyndebourne Opera Festival), Fritz Kothner (Die Meistersinger von Nurnberg, Wagner, Poznan Opera), Evgeny Onegin (Evgeny Onegin, Tchaikovsky, Dortmund Opera).
Forthcoming engagements: Evgeny Onegin (Evgeny Onegin, Tchaikovsky, Opér de Toulon), Foka (Charodeyka, Tchaikovsky, Opéra de Lyon).
Previous engagements: Ernesto (Don Pasquale, Donizetti, Teatro Crystal – Parma), Duke of Mantua (Rigoletto, Verdi, Teatro Regio – Parma), Rinuccio (Gianni Schicchi, Puccini, Voceallopera – Milan).
Forthcoming engagements: Normanno (Lucia di Lammermoor, Donizetti, Teatro Magnani – Fidenza), L’incredibile, L’abate (Andrea Chenier, Giordano, Teatro Magnani – Fidenza).
Barbara Cole Walton
Previous engagements: Blonde (Die Entführung aus dem Serail, Mozart, Diva Opera), Controller cover (Flight, Jonathan Dove, Scottish Opera), Giannetta (L’elisir d’amore, Donizetti, New Generation Festival, Florence, Italy).
Forthcoming engagements: Ice cover (Anthropocene, Stuart MacRae, Scottish Opera), Mary Kelly cover (Jack the Ripper, Iain Bell, English National Opera).
Previously at WFO: Luka (The Bear ShortWork, Walton, 2016), German Soldier (Silent Night, Kevin Puts, 2014), Usher (Trial by Jury ShortWork, Sullivan, 2014), Dottore/Barone (La traviata ShortWork, Verdi, 2013).
Previous engagements: Blackbeard (Moonfleet, Hepplewhite, Salisbury Playhouse), Enrico (Lucia di Lammermoor, Donizetti, Fulham Opera), Badger/Parson/Harašta (The Cunning Little Vixen, Janáček, Grimeborn Festival).