Arshdeep Kaur goes to see Calgary Opera’s Don Pasquale
Report by Arshdeep Kaur
On February 5, I stepped into the mysterious opera realm for the first time. I saw Don Pasquale – an Italian comic opera by Gaetano Donizetti – at the Southern Alberta Jubilee Auditorium in Calgary.
Apparently, a comic opera is a perfect choice for a beginner who might be nervous like me about understanding the production. Opera, as I saw from Hollywood movies, always intrigued me, but I was intimidated to go because Opera is typically performed in Italian, and my knowledge of music theory is non-existent.
I was determined to not feel left out of the experience. I crammed the official study guide on Calgary Opera’s website like I was preparing for an exam. When I finally stepped into the theatre, surrounded by an audience mostly made up of older folks, I felt prepared.
Don Pasquale is a classic Italian comic opera that in this production plays with the boundaries between film and real life. At times, the characters are themselves interacting with one another, while at other times, they are being filmed performing roles in the new “talking pictures” of the 19030s to the 1950s. It nods to old Hollywood classics like Roman Holiday and Singin’ in the Rain while staying true to its 18th-century comedic roots.
The story starts with a wealthy old bachelor, Don Pasquale, who wants to stop his nephew Ernesto from marrying Norina – a poor actress. As revenge, he decides to get married himself and disinherit Ernesto. But Ernesto’s friend Dr. Malatesta tricks Pasquale into marrying a fake bride – who’s actually Norina in disguise. She starts off as the perfect, obedient wife but quickly transforms into a demanding, mean bride, making Pasquale regret his decision. By the end, the truth is revealed and Pasquale gives in and Ernesto and Norina get their happily ever after.
Before attending, my biggest concern was understanding what was happening on the stage. Thankfully, the surtitles in English on a screen above the set were very convenient. However, it got a bit painful for my neck to go back and forth between surtitles and then look at the actors. I had to pick one or the other, and I focused on actor’s expressions and absorbed the performance. This was more entertaining and I could easily what they were singing or dancing about since I had memorized the story.
We sat in the fourth row from the stage and had a fantastic view of the set and the actors. I missed out on one thing: the orchestra. They were hidden below the stage and I couldn’t see the conductor leading the musicians. I would have loved to watch that – there’s something magical about seeing a conductor guide an entire group of people with just a flick of the wrist.
(photo: Calgary Opera)
I also had this Pinterest-fueled expectation that the theatre itself would be grand – velvet seats, gold chandeliers, and intricate ceiling murals. In reality, it was a pretty standard theatre, not that dramatic.
The production opened with a silent film, and for the first act it felt a little slow. I may or may not have yawned once or twice. The music was beautiful, but the pacing didn’t quite hook me and the comedy didn’t land.
However, in Act II, Norina (a.k.a. “Sofronia”) stepped in and the energy shifted. She brought the humour, sass, and charm that made me laugh. I loved her singing the most, as well. I had assumed the high-pitched opera vocals might be overwhelming or even annoying, but they were actually beautiful. Pleasant. They had an intensity that pulled me into the story. When multiple singers synced and sang harmoniously, that gave me the chills. The way their voices layered over one another created this immersive, almost cinematic experience. I wanted more of that.
The ending felt a little rushed. One moment, the trick was still unfolding. The next, everything was resolved and the cast was taking their final bows. The loud applause and the cheering made it clear that audience loved it, and had enjoyed the performance.
I didn’t walk out of the theatre completely mesmerized by opera, but I enjoyed it enough to give it another shot. I think part of my mild reaction was due to this being my first time—maybe I needed more historical and artistic context to fully appreciate it. Perhaps, I just picked a show that didn’t completely align with my taste. Or maybe opera is an acquired appreciation, one that deepens over time.
I do get the appeal now. There’s something special about the live performance – the music, acting, singing makes for a grand storytelling experience. I may not have been wooed this time, but I am open to try another production because I still want to be cultured!
Donizetti: Don Pasquale
Calgary Opera
Jubilee Auditorium South, Calgary
February 5 2025
