Inland Northwest Opera sets sail with ‘Don Pasquale’ production on Lake Coeur d’Alene

Returning to Coeur d’Alene for its annual Opera Cruise, Inland Northwest Opera will mount a WWII-era production of Gaetano Donizetti’s “Don Pasquale.”

Director Gregory Boyle is thrilled to be staging the show on the water for two nights, Sunday and Monday.

“It is such a unique opportunity,” he said. “I’ve done outdoor theater … a lot of touring and public shows as well. But to do something on a boat – two barges tied together – will be such an interesting experience.”

A light-hearted comedy sung in English with English dialogue, “Don Pasquale” follows the title character (Matthew Burns) as he ridiculously attempts to disinherit his nephew, Ernesto (Brendan Tuohy).

“It’s about age and age as the enemy,” Boyle said.

Grasping at straws as he feels his youth slip away, Pasquale tries to keep everything within reach – including Norina (Emilie Faiella), the woman his nephew is in love with.

“It might sound dark, but it’s very playful,” Boyle said. “There’s a lot of intricacy to it, but people will be able to catch on very quickly … you’ll leave humming along even if you don’t know the words.”

Moving the story from early 19th-century Rome to the 1940s, Boyle found a new lens for the work.

“The 1940s and 1950s – was a time of potential for these housewives who didn’t have much autonomy,” he said. “And so as the character Norina is trying to find her own voice and trying to find her own independence … it became a little more interesting for me … placing her in that time period.”

Boyle also explained how he likes to steer clear of what he calls “ballgown opera” as often as possible.

“I find that audiences … want to see something more real … especially in this case.”

Luckily for the young lovers, Dr. Malatesta (Jose Rubio), has other plans.

“He’s the glue that makes the story move forward,” Rubio said.

Well aware of Norina’s interest in Ernesto, and a close confidant of Don Pasquale, Malatesta has a handle on the situation from the start.

This production will mark Rubio’s debut performance as Malatesta, but like most baritones, his relationship with these particular arias goes back to his earliest operatic experiences.

“This is a classic Italian sort of bel canto style opera,” he said. “You have beautiful music and sincere moments … and it’s a comedy so you have the Buffo character (Pasquale), you have the ingenue (Norina), you have the heroic young tenor (Ernesto), and of course the baritone (Malatesta) all stirring the pot together.”

The story is reminiscent of operas like “The Barber of Seville” and “The Marriage of Figaro.”

“It’s very much that same sort of formula, but it’s a good formula,” he said. Looking back on his recent engagements – especially contemporary productions and newer works – Rubio looks forward to returning to his classic roots.

“It’s always nice to come back,” he said. “Like, ‘Oh yeah, this is why we got into this.’

“It’s beautiful music and it’s a joy to sing.”