Don Pasquale is Donizetti’s 64th opera out of 75. Premiered with four leading singers, it was immediately recognised as a comic masterpiece and remains one of the most frequently performed opera buffa today.
Opera buffa draws on the stock characters of Commedia dell’Arte, and Donizetti makes full use of them: the grumpy Pantalone (Pasquale), the lovesick Pierrot (Ernesto), the scheming Scapino (Malatesta), and the wily Columbine (Norina).
Ernesto, the sole heir to his unmarried uncle Don Pasquale’s fortune, loves the penniless Norina. Pasquale, a wealthy bachelor, insists he marry a rich bride. Ernesto refuses. Determined to teach him a lesson and disinherit him, Pasquale — aided by Doctor Malatesta — decides to marry himself. The intended bride, Sofronia, supposedly Malatesta’s sister fresh from a convent, is in fact Norina in disguise. A sham marriage is arranged with a fake notary.
Norina swiftly transforms into a nightmare: spending extravagantly, hiring staff, purchasing jewellery, and rejecting Pasquale as too old — culminating in the shocking slap (“un schiaffo!”) that leaves him humiliated and broken. He ultimately consents to Ernesto marrying Norina simply to rid himself of her.
Traditionally, Pasquale receives his come-uppance, while Ernesto and Norina live happily ever after. In Tim Sheader’s striking reinterpretation, however, Pasquale becomes the moral centre of the drama, while Norina and Malatesta emerge as calculating and ruthless, with Ernesto a pliable dupe. It is Pasquale who appears the only genuinely honest character — and one cannot help but feel sympathy for him.
The rotating set is impressive. Pasquale is reimagined as a successful entrepreneur; the exterior of his home (doubling as an office) is a cube emblazoned with his name. Inside, the décor is elegant and curated, with display cases featuring a Ming vase, a rare book, and an Egyptian statuette of Anubis — a wry declaration of vitality: Pasquale is very much alive. He is cultured, industrious, and even maintains a personal trainer.
Sheader’s Ernesto is no romantic ideal but an immature, feckless figure: arriving on a scooter in an orange T-shirt, absorbed in headphones, posting childish selfies, and living off Pasquale’s credit cards. Pasquale’s frustration is entirely understandable.
Malatesta recruits Norina during the overture. Here, she is a calculating waitress, primarily motivated by money and closely aligned with Malatesta. Although the interpretation is novel, the Norina/Ernesto pairing feels dramatically unconvincing: she is cold and manipulative, he a naïve simpleton. Their union appears doomed — though not her financial ambitions.
Federico Longhi’s Pasquale is sensitively portrayed, combining excellent acting with polished singing and strong breath control. His final humiliation is genuinely affecting. Some lower notes lack depth, though the role is written for bass rather than baritone.
Mikhail Timoshenko’s Malatesta is elegant and controlled, a vain perfectionist constantly preoccupied with his appearance. He is the standout vocalist of the evening, with a rich, powerful voice, excellent diction, and a wide expressive range. At just 32, he promises an impressive career.
The famous “cheti-cheti” duet disappoints: Pasquale exits prematurely, leaving Malatesta to continue alone. The lost interaction diminishes both the humour and theatrical impact.
Mariam Battistelli’s Norina follows the darker line of the production, presenting a character driven by ambition and calculation rather than charm. However, this proves problematic: the role depends on wit, warmth, and emotional nuance to sustain its comic and dramatic credibility. Here, the absence of those qualities makes Norina difficult to sympathise with, and the humour largely falls flat. One is left with the sense not so much of a deliberate reinterpretation, but of a performance that does not fully realise the richness and complexity of the role.
Paolo Neve’s Ernesto possesses a promising instrument, but issues of intonation and vocal attack undermine the performance. A greater variety of tone and more secure preparation of the upper register would strengthen both the musical and dramatic impact.
The Opéra de Nice, built in 1885, remains a jewel in the heart of the old town. The house was full, the production visually striking, and the audience enthusiastic. For anyone visiting Nice, this is well worth attending.
New co-production with L’Opéra Nationale de Lorraine
Opera buffo in three acts.
Music by Gaetano Donizetti (1797-1848)
Libretto by Gaetano Donizetti and Giovanni Ruffini
Conducted by Giuliano Carella
Directed by Tim Sheader
First performance Théatre des Italiens 3 January 1843
Photo Credit Nathan Cassar
Cast includes Federoco Longhi, Mariam Battistelli, Paolo Nevi, Mikhail Timoshenko.
Orchestra Philharmonic de Nice and Nice Opera Chorus
Running time 2 hours 30 minutes with intervals
11-17 March 2026