Don Pasquale. Sydney Opera House Wed 7th August 2013.
Don Pasquale - Conal CoadDr Malatesta - Samuel Dundas
Ernesto - Ji-Min Park
Norina - Rachelle Durkin
c. Guillaume Tourniaire p. Roger Hodgman
This Don Pasquale opened with a sepia-like scrim projection with a vintage movie promotion. While perhaps of some meaning to those ‘in the know’, this seemed of little bearing to the chocolate-box production we were about to enjoy.
The stage was a charming house and street exterior which rotated to an equally charming if dated domestic interior. This was transformed to a super-contemporary setting after the intervention of the ‘modern’ young wife in the second act, part of the plot to drive the rich old philanderer mad and make him renounce his decision to re-marry, thereby disinheriting his nephew Ernesto.
The work’s most famous tune, first played on the ‘cello in the overture, should be a gift to the tenor. Com’e gentil was a delight with Korean tenor Ji-Min Park putting sensitivity before panache in the aria, producing a non-falsetto and legato ending. He was the real star of the night in my book.
Likewise, Norina’s aria is a spin for the coloratura … and Ms Durkin is up to it. Her voice is capable and well projected, yet it lacks the innate beauty of the finest of the genre. She was exemplary as one of the ugly sisters in the Met’s Cenerentola in New York.
Like the changed domestic décor in Act II, so we also see the transformation of Mr Coad from house clothing to formal attire for the wedding then the inevitable hangover in which he is bestraggled again. Mr Coad has an impressive voice and comic presence - with a facility to fit fiddly syllables into his patter, no more than in the duet with baritone ‘Cheti, cheti mantinente’.
Mr Dundas as Dr Malatesta (Italian for ‘headache’) sings and acts with style and flair as the scheming, unethical doctor on house call. Yet his command of proceedings is not as unanswerable as it might be.
Don Pasquale contains many other memorable melodies, taxing and beautiful arias, choruses and a brilliant overture, to boot. We have waited far too long for this classic comedy of the Bel Canto genre. Yet we have the Elixir of Love next season, a reflection of the narrow repertoire the company now follows.
Despite my misgivings about the company’s longevity this was altogether a most enjoyable night at the opera - head spinning with tunes and good spirits at the end of the night and, unlike the other season offerings, nary a body on stage!
Some of my readers have asked about Carmen on the pontoon on Sydney Harbour. Again, despite misgivings, I attended this event for the second year running and had a simply marvellous time taking in the crowds, evening air, stars, city views and lastly, the music, vocals and drama. It is more like a fun fair than the opera house. I did not stay for the whole opera so will not give a critique of the performance, which seemed to be of a high quality for what I saw and heard. Furthermore, I did not pay the big bucks for the extremely expensive centre seats. Like the old dry cleaning maxim ‘all care but no responsibility’.
Handa Opera on the Harbour has now had two years of favourable weather (only one night rescheduled if my information is correct). Furthermore, the temperature and wind levels were favourable as if some genie were looking after the event. It is only a matter of time before there is a season disaster due to bad weather to which Sydney can be prone. While it was a lovely distraction, in the face of rain, high winds or cold, one may well question why not use the charming little opera house nearby. And why are we hearing amplified opera singers whose arduous lifetime training is to sing without microphones? There was certainly no amplification when opera started in the Arena di Verona in 1913.
Comments by Andrew Byrne ..
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