BY LUCY RASH AND MEGAN BURSLEM
Opera Australia
Don Pasquale by Donizetti
State Theatre, Arts Centre Melbourne, 19 November 2014
The ’50s is back ‘in’ these days. And it’s no surprise, either; what contemporary femme fatale hasn’t pondered the charming and deliciously classic aesthetic of a spotted full circle skirt and perfectly lacquered victory rolls? Take one look at Richard Roberts’ set, and one could be forgiven for assuming this styling alone could be a major draw card for Opera Australia’s new production of Donizetti’s Don Pasquale. Yet, as we took our seats in a less-than-healthy house, we were left with a feeling that the fun could unfold with mixed results.
This light-hearted operatic rom-com tells the tale of the ageing, scrooge-like Italian bachelor, Don Pasquale – who is determined to frustrate the hell out of his nephew (Ernesto) by marrying his sweetheart (Norina). Little does Don Pasquale know, this betrothal is a devilish and diligently planned trick engineered by the sibling power-couple Norina and Don Pasquale’s handsome physicist, Dr Malatesta, to secure his fortunes. The story is comedic, and though these sensibilities are aptly nurtured by the cast, the more serious moments – such as the Act III duet between Ernesto and Norina – seemed to lack depth; a stroke past what the cast, though experienced performers, appeared emotionally and technically capable of.
Despite these shortcomings, there were many moments that shone. Not least the provision of free, snack-sized lemon gelati jointly supplied by the Arts Centre and Opera Australia. Delicious! The comic elements of the production went down a treat: soprano Rachelle Durkin’s Norina was cheeky and tenacious, and her presence on stage was matched perfectly by Samuel Dundas as the opportunistic Dr Malatesta. Though he entered stage with an attention-grabbing, Charlie Sheen-esque swagger, the mystique of Ernesto (John Longmuir) soon wore off. Not to worry – any waning attention was snatched by Conal Coad (let us pause to pay tribute to this exquisite name!) as the inimitable Don Pasquale. His performance was, hands down, the most convincing as both singer and actor.
Undoubtedly, the highlight of the night for both audience and cast came as Norina threw down one of the Don’s priceless ‘ceramic’ vases. Despite resonant sound effects, it did not break. A second attempt, and still no success. The singers tried desperately to disguise their laughter but the audience soon caught on, realising that this was an opera to enjoy for its simple pleasures. It was a moment that broke the ice, if not the vase.
Unfortunately, there were a few too many moments when synchronicity between the singers and orchestra lacked. Regardless of the reasons, the result was an audience reaction that lacked enthusiasm for a coulda-been-classic night out.
Image supplied. Photo: Jeff Busby.
