Making an impressive, if unexpected, debut on opening night in the romantic lead as Pasquale's nephew, Ernesto, was Atlanta Opera Studio Artists program participant Argentinian tenor Santiago Ballerini. (Ji-Min Park, slated to play Ernesto, was sick on opening night, but is expected to return to the role for the remainder of the performances.) The small but mighty tenor Ballerini gave youthful vigor, energy and drama to the role, and the loveliness of his tenor voice was clear, from his Act 1 aria right through to the lilting loveliness of Act 3's serenade (with the character disguised, in keeping with the new setting, as Ol' Blue Eyes himself, no less).
What’s best about Hudson’s conception for the show is its consistency. Opera directors often seek to update or change the setting or time of a classic work, but many times, this only succeeds in patches. We may be delighted to see Violetta cavorting around 1930s New York in Act 1 of a reimagined “La Traviata,” but we’ll end up wondering why she dies of a 19th-century disease like consumption in Act 3. Here, the new concept is sustained across characters, settings and acts.
Though it’s a shame Donizetti’s opera doesn’t offer the Atlanta Opera’s powerful chorus more to do, it’s still fun to see the members dressed as various celebrities including Elvis Presley, Eartha Kitt, Groucho Marx and Lucille Ball, as the gossiping servants of Donizetti are changed to chattering guests at a Hollywood party.
Orchestrating the plot against Pasquale is Dr. Malatesta (Alexey Lavrov), often portrayed as a middle-aged buffoon in the commedia dell'arte style, but here depicted as a slick, young Hollywood con man. Malatesta employs the help of Norina (Georgia Jarman), here a seductive Hollywood starlet, whom he disguises as his virginal sister straight from a convent, to marry Pasquale.
Pasquale himself, in keeping with his character, lives in a black-and-white world; when the opera opens, he and his mansion are monochromatic, but the stage begins to get splashes of color as his hope returns. It’s a visual device that helps give surprising pathos to later developments, such as Norina’s cruel treatment of Pasquale in Act 2 and Pasquale’s gloomy, almost suicidal realization that his marriage could never work in Act 3. Touches of physical comedy, which are often hard to pull off in opera because the emphasis is placed so resolutely on the sound world, are surprisingly well-executed and effective here.
I was less a fan of a planned encore for Dr. Malatesta and Don Pasquale in Act 3, which seemed more vaudeville than Hollywood with its ironic showboating and spotlights swooping over the drop-curtain. Planning for, and, in the supertitles, deliberately eliciting audience enthusiasm for, an encore seems vaguely like cheating. Still, it’s hard to complain when the result was hearing the playful patter of the nicely executed duet again, though in my estimation, the true highlight of the evening was the finale of Act 2, an ensemble featuring all four of the strong leads at the height of the dramatic confusion in a burst of colorful melody.
Maestro Joseph Colaneri, the current music director of the Glimmerglass Opera Festival, conducts, eliciting especially fine and precise yet playful sounds from the score's many modes: lush passages, light arrangements or even solo instrumentation. The shift in time and place would be thoroughly irksome if the classical bones weren't strongly intact, and this Colaneri ensures masterfully.
In the show, Pasquale never quite manages his big comeback, but in Hollywood terms, “Don Pasquale” is nonetheless a surefire hit.
The Atlanta Opera’s “Don Pasquale”
7:30 p.m. March 28; 8 p.m. March 31; 3 p.m. April 2. $35-$131. Cobb Energy Performing Arts Centre, 2800 Cobb Galleria Parkway, Atlanta. 404-881-8885, www.atlantaopera.org.