Comic strips and captivating voices – an opera buffa for non-opera buffs
The Scottish Opera’s recent production of Don Pasquale, directed by Renaud Doucet and André Barbe, brought a fresh, vibrant energy to Donizetti’s comic opera. Supported by the Scottish Opera Syndicate, this production stood out for its creativity and originality, making it a delightful experience for both seasoned opera fans and newcomers alike.
One of the production’s most inventive elements was the set design, which employed clever comic strip motifs to transform the stage into a colourful, immersive world. With graphic art and recurring thought bubbles, it felt like watching a live comic book unfold. Doucet and Barbe’s staging introduced each character with comic-strip flair, pulling the audience into the action as if we were inside the pages of the story itself. Coupled with Guy Simard’s dynamic lighting design, the staging made the scenes feel vibrant and alive, as if we were a fly on the wall of Don Pasquale’s eccentric world.
Set against the backdrop of the 1960s, each character’s costume added depth and personality to the broad libretto, bringing this classic opera into a playful, mod era. The attention to detail in makeup and wigs added sophistication and charm, transforming each character into a stylized caricature that was at once quirky, stylish, and beautifully absurd.
The performances were exceptional. David Stout brought infectious energy and vocal agility to the role of Don Pasquale, balancing comedic brilliance with impressive vocal control. Simone Osborne, as Norina, dazzled with her powerful voice and playful charm, perfectly capturing the character’s blend of mischief and allure. Filipe Manu and Josef Jeongmeen Ahn, both in their company debuts—Manu as Ernesto and Ahn as Doctor Malatesta—delivered outstanding performances, with Manu’s warm and endearing portrayal and Ahn’s charismatic edge adding to the comic chaos.
In addition to the principals, the non-speaking “terrific trio” of Frances Morrison-Allen (Maid), Steven Faughey (Cook), and Jonathan Sedgwick (Porter) added an extra layer of comedy through their expressions, antics, and humour, enriching the story with their delightful portrayals.
The Orchestra of Scottish Opera, led by Stuart Stratford, and the Chorus of Don Pasquale performed Donizetti’s score with exuberance and precision. Stratford’s direction highlighted the playful, whimsical character of the music, perfectly complementing the dynamic tone of this production.
Don Pasquale, presented by Scottish Opera, delivers a lively and inventive take on Donizetti’s opera buffa, brimming with humour and heart. The only thing stopping this production from receiving a perfect five stars is the 180-year-old libretto and story. While it’s important to embrace the theatricality of the piece, some aspects of the text can feel hard to believe, even within its whimsical setting. Nevertheless, its vibrant staging, playful storytelling, and exceptional musicality, this production proves that Don Pasquale can still feel fresh, funny, and engaging—a joy for both newcomers and veteran opera lovers alike.