2016 Don Pasquale

Participants
Production
Gallery
Videos
Programme

Part of Ópera de Tenerife, the project targets young professionals who as yet do not have enough stage experience. Firstly, singers at local, national and international level are selected to then start a month-long training in musical and dramatic aspects in order to put on an opera title within Auditorio de Tenerife’s opera season. Opera (e)Studio was set up to fill in the void young artists find themselves in when they finish their higher education and must make their debut on the stage.

Giulio Zappa as artistic and musical director of the project, Silvia Paoli as stage manager and a large team of professionals train the singers in all the aspects necessary to achieve a good opera performance according to current European standards: musical and stage performance technique, style, direction, body language, theatrical nature of the role, historical context of the composition, dramaturgy, libretto studying, etc. which ends by staging the production of Don Pasquale by Donizetti, with Orquesta Sinfónica de Tenerife and which is part of the Opera de Tenerife season, thus securing direct contact with theatre reality.

Participants 2016

Eugenio Di Lieto / Don Pasquale

Bass

[Italy]

Daniele Terenzi / Malatesta

Bass-baritone

[Italy]

Emmanuel Faraldo / Ernesto

Tenor

[Argentina]

Olena Sloia / Norina

Soprano

[Russia]

Giorgio Celenza / Don Pasquale

Bass-baritone

[Italy]

Oganes Avakyan / Malatesta

Bass-baritone

[Ukraine]

Pablo Martínez / Ernesto

Tenor

[Colombia]

Gloria Giurgola / Norina

Soprano

[Italy]

Production: Don Pasquale

Of the three great repertoire comic operas, (Il barbiere di Siviglia, L’elisir d’amore and Don Pasquale), the last two are both by Gaetano Donizetti. There is more than a decade between L’Elisir and Don Pasquale in a 19^th century that was no less eventful than the 20^th regarding political and artistic revolutions. Don Pasquale is virtually the last ‘opera buffa’, a genre soon to be replaced in audiences’ preferences for tragedies or dramas of higher aspirations: Wagner premiered The Flying Dutchman in Dresden just one day before Donizetti presented his Don Pasquale in Paris. The irruption of romantic drama in opera puts an end to the hedonistic idea of opera being just an entertainment or social event. However, in early January 1843 you could still enjoy, with no ethical or ideological qualms, a pleasant musical evening in the company of excellent actors and singers. Don Pasquale tells us the plot set up by the young and cheerful Norina and her lover Ernesto, to make his uncle, Don Pasquale, give up his intention to marry.