Opera Review: Money, Mishaps and Marriage Fuel OTSL’s Hilarious DON PASQUALE

One of the ways that Opera Theatre of St. Louis is celebrating their 50th anniversary is by kicking it old school. With the latest production, the riotous Don Pasquale, they have called upon some familiar faces to help mark the occasion.

First produced by the company five decades ago, the current staging of Don Pasquale features the return of Christopher Alden, who also directed that premiere. Then wet behind the ears, Alden is today heralded as one of opera’s premier directors.

Donizetti’s opera follows the adventures of Don Pasquale, a rich bachelor looking to secure stability for his heir. Carefree and undisciplined, his nephew Ernesto irritates him by shirking a marriage to a rich woman Don Pasquale has selected for him in favor of Norina, an economically challenged widow.

Furious over this decision, Don Pasquale threatens to disinherit him. Looking to humiliate his nephew, he decides to marry someone himself and produce his successor.

However, his simple plan is foiled by his physician, Dr. Malatesta, who also serves as a confidant to Ernesto. Together, they hatch a scheme for Don Pasquale to marry “Sofronia,” a well-to-do woman he is acquainted with. However, unbeknownst to him, his future bride is Norina in disguise.

While the plan is devious, it has a drawback: Ernesto hasn’t been let in on the gag. Saddened by the news that his beloved will marry Don Pasquale, he begins to worry about his future.

From here, the hijinks escalate as Norina and Malatesta set their plans for a faux wedding in motion. Also in on the caper is the local notary.

An exuberant Don Pasquale marries Sofronia, unaware that the ceremony is a sham. His joy is short-lived, however, after he learns that his mild-mannered bride is a shopaholic with extravagant tastes.

Taking on the “air of an empress,” she spends his money lavishly. Sofronia buys a Ferrari, new clothes, and hires a coterie of servants all to ruin Don Pasquale. Regretting his poor choice of a bride, he is helpless as his marriage goes off the rails.

If that is not enough, Norina takes things further by tricking Don Pasquale into believing she has a new lover. Thinking her late-night partying has led to a secret rendezvous, Don Pasquale plots to catch her in the act.

After springing into action, he discovers Ernesto and Norina together. Livid at the skullduggery perpetrated, he learns that he has been fooled after Malatesta divulges that his connubial happenings weren’t legal. His anger quickly turns to jubilation as he realizes his wallet won’t be depleted by a trophy wife. Taking things in stride, the old man signs off on Ernesto and Norina’s marriage.

Rich with humor, OTSL’s staging finds Alden adding bright colors to the production. His trademark minimalist style is more subdued here with bright colors and overaccentuated set design at the forefront. An Olivier Award winner, Alden brings Donizetti’s work into a more modern setting, giving the opera a jolt of freshness. He also amplifies the messaging to more contemporary times as love vanquishes greed and hubris.

Musically, Kensho Watanabe’s debut with OTSL is stunning. The conductor’s work here with members of the St. Louis Symphony Orchestra is breathtakingly emotional and beautiful.

Simply put, Susanne Burgess’ OTSL debut in Don Pasqualeis a moment. The soprano’s performance here is one of the best witnessed on the company’s stage in years. Several of her solos received boisterous acclaim from the audience throughout the night. Lovable as Norina and despicable as her alter ego, she gives a balanced turn as both, making her appearance in these roles even more powerful.

Patrick Carfizzi’s return to OTSL is also splendid. As the fretful and frugal title character, his great singing is meshed with perfect comedic timing.

Together the duo is thunderous. They bicker and clash throughout the three acts with great relish, making the opera’s realism more profound.

Joining the cast onstage is soprano Sheri Greenawald, who also starred in OTSL’s inaugural presentation. Since that show in 1976, she has gone on to bigger things, becoming a prominent performer for many national companies. Despite being silent through most of Don Pasquale, her physical mannerisms and facial expressions make the notary a fun character. Vocally, Greenawald’s singing is terrific.

At a time when the city could use some laughs, Opera Theatre of St. Louis is providing them. Highlighted by a talented ensemble and a lush score, Don Pasquale is a triumph. Funny from start to finish, this landmark production fires on all cylinders, making it a can’t-miss theatrical experience of the summer.

Don Pasquale runs through June 27 at the Loretto-Hilton Center on the campus of Webster University.

Productions at Opera Theatre St. Louis are in English with musical accompaniment from the St. Louis Symphony Orchestra. For more information on programming for the 2025 season, visit opera-stl.org.

Photo credit: Eric Woolsey