Spokane Opera impresses with ‘Don’
“Don Pasquale” is more than just an entertaining comic opera. It’s also the community’s annual reminder of what a gem we have in the Spokane Opera.
Put simply, Spokane’s resident opera company is far better than it has any right to be. Without benefit of a grand hall or a grand budget, this band of dedicated artists has once again demonstrated its commitment to musical and theatrical professionalism.
This evening of opera races by. This version of Donizetti’s masterpiece was lighthearted, fast-paced, cleverly directed by Bill Graham, and filled with top-drawer talent.
The Spokane Opera’s principal achievement has always been in its knack for combining top young national talent with homegrown talent. This production is no exception, with the brilliant tenor Russell Thomas on loan from the Metropolitan Opera’s Young Artists program. From his first note, it was clear he had a voice of exceptional quality and distinction. Later, we heard that voice in full display in the aria “Com’ e gentil.”
Rubin Casas also impressed in the title role. He labored under the handicap of performing in what looked like a Bozo the Clown fright wig — he was supposed to be an old fool, after all — but he is clearly no fool vocally or dramatically. His voice was expressive throughout and he stole at least one scene as he got down on his knees like a smitten schoolboy and panted over Norina.
Yet the homegrown talent was just as impressive, especially the outstanding Heather Parker singing the role of Norina and the wonderful Max Mendez as the gleefully conniving Dr. Malatesta.
The story itself is a classic bit of Italian romantic tomfoolery. Ernesto and Norina are in love, yet mean old Don Pasquale won’t give his consent. Dr. Malatesta resolves to help the young lovers through an elaborate subterfuge in which he passes Norina off as his sister and “marries” her off to Don Pasquale.
Then Norina makes herself so disagreeable (on purpose) that Don Pasquale will be thrilled to pawn her off on the willing Ernesto. One of the joys of this production is watching Parker pretend to turn into an utter, profligate shrew. She even smacks the old Don right across the kisser.
This story is easy to follow, thanks to the supertitles above the stage. Even on the occasions when the supertitles didn’t seem to be working, the story was not hard to follow.
Graham’s idea of using Spokane Ballet dancers Kari Jensen and Sho Rich in lieu of a servant’s chorus was inspired. In one enjoyable scene, these two servants flaunt some of the “wife’s” new purchases and toss a silk gown right into the Don’s face. The old sourpuss flings it right back.
Donizetti is full of sprightly melodies and rich harmonies. This 14-piece orchestra, under the direction of Joseph Mechavich did them justice with a polished, rich sound.
If the Spokane Opera has to sacrifice a certain grandeur in performing in a theater with no orchestra pit, it is offset by a feeling of intimacy hard to find with a larger opera company. We felt as if we were practically in the orchestra.
The set design by George Caldwell was ingenious, considering that The Met does not have room in the wings for set changes. I especially liked the garden scene, all blues and violets with a full moon above and lilacs dripping off an arbor.