Don Pasquale review – a revival brings charm and warmth

Mariame Clément’s production of Donizetti’s Don Pasquale has improved with time. Its hard-edged approach to a work often considered cruel resulted in charges of cynicism when it was first seen on the Glyndebourne tour in 2011, an impression seemingly reinforced when it was taken into the main festival two years later.

Revived once again for the touring company, this time by Paul Higgins, it has now acquired some of the humanity it once lacked. A few concerns remain, but it makes for a much more satisfactory experience.

The title role has been re-thought. Where Pasquale, the elderly bachelor hankering after marriage to a girl years younger than himself, was originally held up to ridicule, he’s now played by Portuguese baritone José Fardilha with greater sympathy, and proves remarkably touching as the conspiracies stack up against him. Clément had controversially made the plotters Norina (Eliana Pretorian) and Malatesta (John Brancy) lovers on the make, rather than have them act out of concern for Pasquale’s put-upon nephew Ernesto (Tuomas Katajala), who has the hots for Norina in turn. The harshness is again toned down: at the end, Norina clearly likes the idea of two men in her life, rather than coolly dumping Ernesto as she did before.

The cast is excellent. Fardilha’s avuncular warmth contrasts nicely with Brancy’s seductive brilliance, and the two have great fun in their big patter duet, which was even better when encored. Pretorian has a more overtly dramatic voice than we usually hear as Norina, which makes her big tantrums all the more alarming when we get to them. Katajala’s spoilt-brat Ernesto, with his collection of teddy bears all over his bedroom floor, has bags of charm and great vocal elegance. It’s beautifully conducted by Duncan Ward, too.