The Israeli Opera Presents:

Don Pasquale

Gaetano Donizetti

The vivacious Norina teaches a far from pleasant lesson to the old miser Pasquale who wishes to marry a young woman. With the help of her beloved Ernesto and their friend Malatesta the young lady strips off Pasquale from his romantic dreams.

Libretto: Giovanni Ruffini and the composer

Among the Soloists:

The Israeli Opera Chorus
Chorus Master: Ethan Schmeisser
The Opera Orchestra – The Israel Symphony Orchestra Rishon LeZion
Surtitles in Hebrew and English Translation: Israel Ouval

New Production
Sung in Italian
Duration: Two and a half hours

* PREMIÈRE
* TOWARDS OPENING – 15.2.14 SAT 11:00    

ACT I
Scene i 
A room in Don Pasquale’s house
Don Pasquale, a rich but aging bachelor, has decided to arrange the marriage of his nephew and heir, Ernesto, to a woman of his choice. But Ernesto has other plans; his choice is Norina, an impoverished young widow, who definitely does not meet with the approval of his uncle. Pasquale decides to beget his own son and heir, and requests his friend Dr. Malatesta to find a suitable bride. Malatesta arrives to announce his choice — an innocent and convent-bred young girl, beautiful as an angel: she is indeed, he explains, his own sister. Pasquale demands an immediate rendezvous and, left alone, feels an irrepressible enthusiasm to father a large family. At first, Ernesto finds his uncle’s aspirations ludicrous, but soon becomes alarmed when he realizes what the outcome will be for his own future.

Scene ii
Norina’s room
In another part of the city, Norina is browsing through a romantic magazine, but concludes that she hardly needs guidance in such matters. She is informed by letter that Ernesto has been deprived of his inheritance and plans to leave town. Malatesta arrives and tells her of his plot for her to impersonate his imaginary sister for the mock marriage with Pasquale, but reassures her that he will advise Ernesto of the ruse. He rehearses Norina’s new role with her.

ACT II 
A room in Don Pasquale’s house
Ernesto discovers that he has lost his prospective bride and resolves to seek solace in a distant land. He avows that he will forgive Norina, so long as she is happy with her new lover. Malatesta presents Norina to Pasquale, disguised as his sister Sofronia. She feigns fear at being introduced to a man and meekly answers Pasquale’s questions about her sheltered life. When Malatesta insists that she reveal her face, Pasquale is overwhelmed by her beauty. A ‘Notary’ is brought in at Malatesta’s bidding, and they begin to draw up a marriage contract. A second witness is needed, and the distraught Ernesto is pressed into service. As soon as the contract has been signed, Ernesto recognizes the bride as Norina. Malatesta quickly explains the ruse. As soon as the ceremony is over, Sofronia changes her character. She demands of her new husband that Ernesto be retained in the house as her escort; she will require new and better-paid servants; the house is to be redecorated. Pasquale feels he has been betrayed and succumbs to confusion.

ACT III
Scene i
A room in Don Pasquale’s house
The newly hired servants and workmen are turning the house inside out. Pasquale is appalled at the cost. When Sofronia arrives, dressed up to go out for the evening, he asks her where she is going. “To the opera,” she replies. When he upbraids her, she slaps his face. Pasquale’s world crumbles. As she leaves, Norina drops a letter of assignation from a lover seeking a tryst that evening in the garden. Pasquale summons help from his friend Malatesta. The servants comment on the strange goings on in the house. Malatesta arrives and suggests an appropriate course of action. Together they will steal into the garden, catch the lovers and take their revenge.

Scene ii
Don Pasquale’s Garden
Ernesto serenades his Norina. The lovers are reunited. Pasquale and Malatesta surprise them but Ernesto escapes. Pasquale decides to rid himself of his new wife, but she refuses to be easily dismissed. Malatesta proposes a solution for which he will require a free hand. Pasquale readily agrees. Ernesto is summoned from the house and Malatesta happily tells him that his uncle has consented to his marriage to Norina, and that he will endow a large allowance upon them. Pasquale awakens to the deception that has been played upon him but soon forgives the young couple. Norina points out the moral: “marriage is a good thing, but not for an old man.”

The Israeli Opera, Sderot Sha’ul HaMelech 19, Tel Aviv-Yafo, Israel