Don Pasquale - Schedule, Program & Tickets

Don Pasquale

CONDUCTOR Evelino Pidò
DIRECTOR Irina Brook
SET DESIGN Noëlle Ginefri-Corbel
COSTUMES Sylvie Martin-Hyszka
LIGHTING Arnaud Jung
CHOREOGRAPHY Martin Buczko

Don Pasquale Ambrogio Maestri
Ernesto René Barbera
Malatesta Gabriel Bermúdez
Norina Andrea Carroll

Juni 2019
CONDUCTOR Enrique Mazzola
DIRECTOR Irina Brook
SET DESIGN Noëlle Ginefri-Corbel
COSTUMES Sylvie Martin-Hyszka
LIGHTING Arnaud Jung
CHOREOGRAPHY Martin Buczko

Don Pasquale Michele Pertusi
Ernesto Dmitry Korchak
Malatesta Orhan Yildiz
Norina Irina Lungu

Details
The old, wealthy, but miserly bachelor Don Pasquale wants to marry off his nephew Ernesto: to a wealthy woman. Ernesto however prefers the young, destitute widow Norina, who loves him. Although Don Pasquale has never seen Norina, he rejects the marriage – and throws Ernesto unceremoniously out of his house. Despondent, Ernesto writes a farewell letter to his beloved Norina. But Norina will not give Ernesto up...

Don Pasquale's new plan is now get married himself – and his friend Dr. Malatesta is to help him in this endeavour. Malatesta however sticks by Ernesto and contrives a complex plot in which Norina and Ernesto have a part to play: Norina is to be presented to the bachelor as Malatesta's well brought up sister Sofronia, who grew up in a convent. Don Pasquale is enchanted by this silent, virtuous creature – and enters into sham marriage arranged by Malatesta (but which Don Pasquale believes to be real). Immediately after the wedding, Sofronia (= Norina) changes her behaviour. She turns into a lavish, loveless, snappish shrew who terrorizes Pasquale and is – obviously – deceiving him. To get her out of the house again, Don Pasquale wants to give his nephew Ernesto not only a rich dowry, but also a home again, along with Norina (whose real identity is still unknown to him). Sofronia's true identity is then revealed. He has to learn his lesson: a man of the older generation should not try to court a younger woman...

Subject to change.

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