SEEN AND HEARD INTERNATIONAL

Other Links

Editorial Board

Google Site Search

Donizetti, Don Pasquale: Soloists, Orquesta y coro de Juventus Lyrica. Conductor: Antonio Maria Russo, Teatro Avenida, Buenos Aires. 17.4.2009. (JSJ)

Director: Oscar Barney Finn
Sets: Raúl Bongiorno
Costumes: Mini Zuccheri
Lighting: Eli Sirlin
Chorus: Miguel Pesce

Cast:
Don Pasquale: Alberto Jauregui Lorda / Mario De Salvo
Ernesto: Santiago Bürgi / Carlos Ullán
Norina: Eleonora Sancho / Laura Polverini
Doctor Malatesta: Fabián Veloz / Fernando Grassi
Notary: Juan Ignacio Suares Christiansen / Rodolfo Pettinichio

Fabián Veloz (Malatesta) and Eleonora Sancho (Norina)

With all of the ingredients that make it what it is, Don Pasquale is one of those operas that is best set in its own times. And this was the approach taken by Oscar Barney Finn with this new production of the work for Buenos Aires independent opera company Juventus Lyrica, for its first full scale work of the season. Bringing to it their customary enthusiasm, Juventus offered two alternative casts for the four performances, of which this reports on the first.

The production started in fine form with the overture, keenly played under the baton of the company’s musical director Antonio Maria Russo. The curtains then opened to the bright sunny terrace of Don Pasquale’s house against a background of a rural looking Rome. From the start the Don Pasquale of Alberto Jauregui Lorda was suitably clownish and bringing his years of experience to the role he has a strong stage presence and wrung all of the humour from his situation right to the end.

 Alberto Jauregui Lorda as Don Pasquale (Act III)

The Maltesta of Fabián Veloz, a fairly new member of Juventus just going into his second year with the company, was also masterly as he schemed with and against his friend. Santiago Bürgi was an appropriate Ernesto and although at times somewhat insecure in the higher notes, his "Cercherò lontana terra" was sensitively delivered.

Eleonora Sancho, one of the Juventus “originals”, was a highlight as Norina, with her strong clear delivery and was as tender to Ernesto as she was forceful with Pasquale. Notwithstanding the quality of the orchestra the chief downside was that it all too often drowned out the singers, and particularly Lorda whose voice is not the largest. As a result his performance was not generally sufficiently appreciated by the audience.

All in all this was a production of which Juventus Lyrica can be proud – but beware the balance. In works such as Don Pasquale the music should support rather than compete with the singers.

Jonathan Spencer Jones

Pictures courtesy of Juventus Lyrica 

^{Back to Top                                                    Cumulative Index Page}