{"id":15396,"date":"2022-06-21T13:58:39","date_gmt":"2022-06-21T11:58:39","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/don-pasquale\/"},"modified":"2023-06-08T09:18:08","modified_gmt":"2023-06-08T07:18:08","slug":"don-pasquale","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/don-pasquale\/","title":{"rendered":"Don Pasquale"},"content":{"rendered":"\n

Opera buffa in three acts<\/em>Music by Gaetano DonizettiLibretto by Giovanni Ruffini <\/p>\n\n

<\/div>\n\n

Soloists from Accademia di alto perfezionamento e inserimento professionale of Opera Carlo Felice Genova directed by Francesco Meli<\/p>\n\n

Don Pasquale<\/em>Omar Cepparolli<\/strong>Davide Maria Sabatino <\/strong>(7, 9, 11)<\/p>\n\n

Dottor Malatesta<\/em>Nicola Zambon<\/strong>Francesco Samuele Venuti <\/strong>(7, 9, 11)<\/p>\n\n

Ernesto<\/em>Antonio Mandrillo<\/strong>Marco Ciaponi<\/strong> (7, 9, 11) <\/em><\/p>\n\n

Norina<\/em>Maria Rita Combattelli<\/strong>Angelica Disanto <\/strong>(7, 10)Silvia Cali\u00f2<\/strong> (8, 11)<\/p>\n\n

Un notaro<\/em>Franco Rios Castro<\/strong>Matteo Armanino<\/strong> (9, 10, 11)<\/p>\n\n

<\/div>\n\n

Conductorand orchestratorFrancesco Ivan Ciampa<\/strong><\/p>\n\n

DirectorAndrea Bernard<\/strong><\/p>\n\n

<\/div>\n\n

Scenic designerAlberto Beltrame<\/strong><\/p>\n\n

Costume designerElena Beccaro<\/strong><\/p>\n\n

Lighting designerMarco Alba<\/strong><\/p>\n\n

VideomakerPierpaolo Moro<\/strong><\/p>\n\n

StagingFondazione Teatro Carlo Felice di Genova<\/strong><\/p>\n\n

Orchestra, chorus and Technicians<\/strong>Fondazione Teatro Carlo Felice<\/strong><\/p>\n\n

chorusmasterClaudio Marino Moretti<\/strong><\/p>\n\n

<\/div>\n\n

Staging directorLuciano Novelli<\/strong><\/p>\n\n

Stage musical directorPaloma Brito<\/strong><\/p>\n\n

R\u00e9p\u00e9titeursSirio Restani<\/strong>, Antonella Poli<\/strong><\/p>\n\n

Stage musical assistantsAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong>other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterBernardo Pellegrini<\/strong><\/p>\n\n

Supertitle MasterSimone Giusto<\/strong><\/p>\n\n

Head of musical archivesSimone Brizio<\/strong><\/p>\n\n

Scenic directorAlessandro Pastorino<\/strong><\/p>\n\n

Vice scenic directorSumireko Inui<\/strong><\/p>\n\n

Consolle supervisorAndrea Musenich<\/strong><\/p>\n\n

Stage technicians foremanGianni Cois<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Audio\/video foremanWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Director’s assistantTecla Gucci<\/strong><\/p>\n\n

ChoreographyIrina Kashkova<\/strong><\/p>\n\n

Choreographic assistantOlga Birukova<\/strong><\/p>\n\n

Assistant lighting designerAlberto Rossini<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Scenes, costumes and propsFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

FootwearC.T.C. Pedrazzoli<\/strong><\/p>\n\n

WigsMario Audello<\/strong><\/p>\n\n

Supertitles Prescott Studio<\/strong><\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/em><\/p>\n\n

<\/p>\n\n

The legend tells that the Don Pasquale<\/em> was composed in just eleven days. Being this true or not, what is certain is that the composition was completed in a very short time period. Donizetti arrived in Paris in the autumn of 1842 on invitation of Th\u00e9\u00e2tre Italien and worked together with Giovanni Ruffini, a scholar akin to Mazzini’s thought who fled Italy to escape a death penalty. The subject drew on an opera from some decades earlier, Ser Marcantonio<\/em> by Stefano Pavesi with libretto by Angelo Anelli. During the writing of the libretto, the composer imposed radical modifications to the words of Ruffini, who refused to claim the work for such a reason (on the original score one can see the signature of Michele Accursi, former follower of Mazzini’s ideals as well and mediate between Donizetti, Ruffini and the Theater. The premiere took place the next January 3. The opera was acclaimed and it was performed the following month at Teatro alla Scala.<\/p>\n\n

One of the most fascinating aspects of such an opera is that many it draws on many stylistic elements of eighteeinth-century Italian commedia d\u2019arte, developing them into a new setting and a more specific psychological characterization and resulting into a typical narration of a nineteenth-century novel. The plot pivots on the character of Don Pasquale, a rich and aged bachelor who gets married to leave his nephew Ernesto out of his heritage. Ernesto wants to marry the young and poor widow Norina instead of a rich lady. The two lovers manage to finally get marry thanks to the unlikely marriage plan conceived by the Doctor Malatesta, who involved personally the clever Norina. The bourgeois setting represents the beating heart of the whole plot development. The opera takes place in Roe the early years of the XIX century; Don Pasquale is a bourgeois and money represent the social status defining deeply a person’s identity. His opposing character is Ernesto, who is completely detachted from the bourgeois valorization of money and follows his feelings regardless of his status as well as his father’s. Norina does not experience contrast that much. The love she longs for is also what will lead her to the richness she never had. Dottor Malatesta acts super partes<\/em>, independently as a director would \u2013 almost indifferent to the narrated sentiments at times \u2013 moving the other characters as he wishes and affirming his intellectual superiority. The whole narration closes with a romantic, though bittersweet happy ending as it also represents the ultimate disillusionment of Don Pasquale and of his bourgeois dream.<\/p>\n\n

The merely apparent linearity of the plot thickens thanks to the many shades of the characters’ interpretations, clearly outlining since the first act and then evolving throughout the story. On a musical level, Donizetti’s maturity stands out \u2013 Don Pasquale<\/em> is his penultimate title \u2013 masterly alternating extremely light expressions with unconsoled melancholy. With Don Pasquale<\/em>, Donizetti reaches his stylistic climax embracing comedy, tragedy, referring to tradition ( especially Rossini’s music) as well as the elaboration of his own musical language which constitute nowadays a fundamental reference of the European operatic dimension.<\/p>\n","protected":false},"excerpt":{"rendered":"

An avaricious and lecherous old man, a very clever servant girl, a young man in love. Intrigue and fiction with a happy ending<\/p>\n","protected":false},"featured_media":16557,"template":"","discipline":[202],"season":[123],"tag_spettacoli":[135,51,154],"class_list":["post-15396","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-don-pasquale","tag_spettacoli-gaetano-donizetti","tag_spettacoli-opera-carlo-felice-genova"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15396","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15396\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/16557"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=15396"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=15396"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=15396"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=15396"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}