SEASON 09-10
- 23 / 24 OCT
- 28 FEB
- 07 / 09 MAY
- 25 / 27 JUN
DON PASQUALE
| · | Ticket sale | · | Prices | · | Purchase tickets | · | Seating capacity |
|---|---|---|---|---|---|---|---|
| 15 March | A 75€ B 56€ C 40€ D 22€ | ||||||
Dramma buffo in three acts by Gaetano Donizetti with libretto by Giovanni Ruffini.
Opened at the Théâtre des Italiens of Paris on January 3, 1845 and, in Spain, at the Teatro de la Cruz de Madrid on January 4, 1845.
New production of the Teatro Real, coproduced by the Teatro Cervantes de Málaga and the Baluarte de Pamplona
Musical Production by Teatro Cervantes de Málaga.
With Miguel Ángel Zapater, Auxiliadora Toledano, José Luis Sola,
Damián del Castillo and Abelardo Cárdenas
Coro de Ópera de Málaga (Opera Choir of Malaga)
Choir Conductor Francisco Heredia
Orquesta Filarmónica de Málaga (Malaga Philharmonic Orchestra)
Stage direction, set design and lights Tomás Muñoz
Musical Direction Lorenzo Ramos
Don Pasquale, the last great Italian opera buffa or comical opera fits the pattern to perfection: characters that connect with those of commedia dell’arte (comedy of craft), farce, simulation, dressing-up, the “I am and I seem” game, the caricature rather than portrait, the mocking of the love of an old man compared to the love of youngsters, the cruelty of deceit, of punishment, of mockery… all of them universal themes which, oblivious to time, make it possible for a new stage production. The action now takes places in Rome in the 50s and is presented in a set design that combines old and modern elements connecting both periods.
Of the sixty titles Donizetti composed for lyrical theatre, Don Pasquale is one of the last five, and is the most famous of these. Some sources assure that the composer took eleven days to finish it, whereas others say it took him closer to two months. What is beyond doubt is that he made a great effort in the orchestration and adaptation of the score to the demands of the performers. The success on the opening night was such that it was soon to be classed as one of the best examples of the opera buffa repertoire, next to the Rossini’s Barber of Seville or The elixir of love, by the same author.
This lyrically elegant and entertaining critique of the amorous pretensions of an old and rich confirmed bachelor towards a young girl in love with the nephew of the rich old man, became one of the happiest “days” of the composer, a feast for the voices and a veritable ode to life.