with a new
English libretto and production by Tom Boyd
Orchestra
conducted by William Bell
THE PLAYHOUSE,
CHELTENHAM, 26 Feb. - x5
March, 2005
CLICK BELOW to hear the
opening scene, ACT
Ixxxxxxxxxxxxxxxxx
CLICK BELOW to
hear the love duet, ACT III
"Bel Canto
comes with a special weapon: Boyd's ability to fashion
sparkling new English versions of the operas he
stages..." The Oxford
TIMES
"... a more
satisfactory production than the recent effort at Covent
Garden*".The Gloucestershire
ECHO *the
Royal Opera production of Don Pasquale by Jonathan
Miller, December 2004
"... the production
used Boyd's own translation, a broad and broadly witty
adaptation".OPERA
magazine
" The libretto is
Tom Boyd at his best, full of witty rhymes and amusing
quips. ..an evening of laughter and rich
entertainment".The Wilts and
Gloucestershire STANDARD
"...the performance
was a joy...a totally convincing updating by Tom Boyd, a
master of his craft"
letter in The
Gloucestershire ECHO
TONY, Don Pasquale's
heavy -Lionel Bassett
xxxxxx
MRS TWIGGER, Don Pasquale's charlady
-Sandra Dukesxxxx
CARLO, posing as a marriage registrar
-Bob Cook
CLICK ABOVE to hear
Ernesto's
Lamentxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
CLICK ABOVE to hear Noreen's aria
A DVD or video of this production is
available for £20, which includes an A5 booklet of Tom
Boyd’s new libretto + p & p.
DR. MALATESTA:
Face lovely as a work of art, lips soft as
mozzarella, graced with a warm Italian heart, sweet as a
crem’ caramella. Nothing extreme or foreign - curves
like Sophia Loren... Though she’s voluptuous, this I
vow: a virgin...I swear to you, a virgin..as of now!
DON PASQUALE: She
sounds fantastic! Incredible! You’ve found my model
wife, somehow.
ERNESTO:
You? You’re getting married? At your age? You
must be joking.
DON PASQUALE: I
see I’ll have to spell it! I, Pasquale da Corneto,
born and bred in Taormina, son of Gino da Corneto and my
mother, Giuseppina...though they’re only here in
spirit, I announce, and they will hear it, that their
bachelor son Pasquale is about to take a wife. On the
honour of my mother, I will swear I’m going to do
it; you were told before, and knew it, and I warned you
you would rue it if you dissipate your life!
NOREEN:
In Barbara Cartland’s soppy books, the heroines are
funny - they only fall for titled men with land and bags
of money. They’re all so frightfully upper, their
evening tea is "supper", and tea is just a cuppa with
scones and buttered bread. Despite the hero’s
urgin’, the lady stays a virgin until the final
chapter, when she’s wed and put to bed! Those county
gals, impassioned, today seem so old-fashioned...
discretion... repression... outdated since the pill. The
world’s moved on, restraint is gone, and sex is now
unrationed...relenting...consenting...if it’s all
right to stay the night...they will!
DR.
MALATESTA: My cousin Carlo in Tooting Bec has agreed
to pose as a registrar and will bring round the marriage
contract. We set the terms as we want them, old Pasquale
signs it and we’ve got him nailed.
NOREEN: And
I’m pretending to be your sister?
MALATESTA:
Sofronia Malatesta, a nice simple convent girl. And once
the two of you are married - so he thinks - you evolve
into a virago and drive him to despair. He’ll
welcome Ernesto back, trumpet and all.
ERNESTO: I might
go to San Francisco - in the summer, love-ins are the scene
there. Though I'd miss the Camden Disco, it's a bummer
without Noreen there. I might join the
Maharishi...meditation on location...the incantation of the
sacred mantra "Om" - to help forget the deprivation that I
suffer here at home.
Dear Noreen, though I am
leaving, it would never do to leave you grieving...find some
toff to love and cherish - I’ll not be jealous if
you’re happy with him. I won’t blame you if you go
suburban, I’ll be in a turban on some exotic shore, but
you’ll remain deep in my heart, in Ancor Wat, though
we’re apart I’ll love you, though I leave you,
I’ll love you forever more.
NOREEN: Promise
brother you won’t leave me. I’m afraid.
I’m so afraid.
MALATESTA:
You’ll be fine here. (to Pasquale) Please
forgive her inhibition, but she’s shy, and in
addition she’s not been in this position, so be
patient as you can.
MALATESTA: So Don
Pasquale, what do you think of my little sister?
PASQUALE:
Enchanting. But I'ma need to see her face. MALATESTA:
She is unused to speaking directly to a man, but if you ask
her a few questions...to get the ball rolling.
PASQUALE: I suppose a young girl like you likes to
dance sometimes? NOREEN: At school we only learnt
country dancing; eightsome reels and Strip the
Willow... however the Dashing White Serjeant and
the Gay Gordons were considred unsuitable for convent
girls. PASQUALE: you did these country dancings with
the young men, no?
NOREEN: Oh, no
Sir. Only with the nuns. That was their habit.
PASQUALE:
I, Pasquale etcetera, share all my worldly possessions,
my properties and securities, assets from various
professions, for all my natural life, I give them to my
wife. She’s free to come and go and see her friends,
if it amuses, go shopping if she chooses...expenses will
be paid.
MALATESTA: Sir,
you show a gentlman’s breeding, conceding she must
be obeyed.
NOREEN: Yes,
what a man of good breeding, conceding my bills will be
paid.
REGISTRAR: The
contract is made.
ERNESTO: I've come
to fetch my hold-all. Surely my right to do so. I'm treated
like a criminal. Your goon here barred my way.
PASQUALE: This
meeting's private. But as you're here, you could be useful.
We need another witness to sign the marriage contract. I
introduce with pride, my sweet old-fashiond bride. She'll be
your auntie.
ERNESTO: My God,
it’s Noreen. You’re all behind this scheme.
This must be just a dream.
DR MALATESTA:
....don't mention the name of who you've seen here.
You'll thank us both when I tell you why Noreen has been
here. Trust me, you'll win the day if you stay and play
along.
REGISTRAR:
Now I pronounce you man and wife.
PASQUALE: My
darling...
NOREEN: Hold
your horses. I can’t stand a man who forces. You
need to ask politely...
PASQUALE:
Please may I kiss you?
NOREEN:
No!
NOREEN: Here's the
maid? Ha ha ha ha! What a specimen! She needs a uniform. For
servants, that's the norm. For shopping, I'll be needing a
motor car and driver. A lady of my breeding can't go by tube
or bus.
PASQUALE: What's
wrong with public transport?
NOREEN: Shut up -
don't make a fuss! If you will be so gracious, I'd like a
car that's spacious...a long black limousine, just like the
Queen.
PASQUALE: You
think I'm J. Paul Getty?
NOREEN: I'll not
have you be mean.
PASQUALE:
You’ll not go out with him. I won’t permit
it!
NOREEN: My
sweetest darling, I tell you straight..."permit" is a
word not worth saying. What I will do, or what I want from
you, Isay...and you are
obeying! ...I have contained myself with gentleness and
grace, but if you go on provoking me, this hand will slappa
your face!
PASQUALE: What a
hateful and ungrateful and ungracious and audacious
little Circe! She deceived me and aggrieved me and
misused me and abused me without mercy. She is vicious
and pernicious...she will make my life a
hell...she’s capricious and officious, avaricious,
and ambitious to relieve me of my bank account and wordly
goods as well!
PASQUALE: I've
been fooled and ridiculed and told I must obey.
NOREEN, ERNESTO &
MALATESTA: Don Pasquale, poor old geezer, he has signed
his life away. We’ve won the day!
End of Act
II
PASQUALE:
Signorina, why all the hurry? Where you go? If you don't
mind saying.
NOREEN: Off to
Wembley, and I really have to scurry. There's a rave-up, and
the Rolling Stones are playing.
PASQUALE: Many
husbands turn to violence when their wives play games to
cheat them.
NOREEN: Old men
ought to keep their silence...younger wives have strength to
beat them!
NOREEN:
Lie down now and have a good rest, you've been too
distressed for one day. Dear hubby, your wifey knows
best, so you ought to do what I say! A man of your age
should not engage in rage...an angry old bloke is likely
to croak from a stroke, and that is no joke! Lie down now
and sleep well, my dear...don't wait up, for I shall be
late. Your wife will return here, and wake you at
eight!
PASQUALE: Woman!
Papa always said: "Women... you give them an inch and they
think they’re a ruler!" Only he said it in
metric.
MRS TWIGGER: That
young bride of ’is will be the death of ’im. When
a bird her age marries a a geezer his age, there’s only
one thing that can make her ’appy. They calls it
"widowhood".
OLDIES: What has
gone wrong with this young generation? Clothes, drugs and
sex are their preoccupation.
YOUNGIES: The old
and us are chalk and cheese
OLDIES: They think
that money grows on trees
YOUNGIES:
They're slaves to wages, stuck in tradition.
OLDIES: Bring back
conscription. They've no ambition.
YOUNGIES: They're
too judgemental...and always wrong!
OLDIES: Their
skirts too short...their hair too long.
OLDIES: Can't
understand them. I blame the schools!
YOUNGIES: A load
of wonks with too many rules: "Don't do this! Don't do that!
Don't do the other. Do as we say, we're your father and
mother."
OLDIES: They use
us, abuse us, and treat us like servants; ask us for money ,
and do as they please!
YOUNGIES AND
OLDIES: That generation! We're chalk and
cheese!
PASQUALE:
I’ll explain the situation: quiet, quiet, very silent
to the garden we’ll go creeping. We observe with
vigilation from the shadows in the corner where we hide to
do the peeping. When this lover comes pursuing, and my wife
arrivies for wooing, you take notes on what they’re
doing for a witness’s report. If I catch them getting
randy, I will have my camera handy...I will photograph the
liaison for evidence in court.
MALATESTA:
If we discover she has a lover, I’d be the first to
display my dismay...I’d be averse to your letting her
stay, You see her off, and I’ll take her away. She will
go without delay...you’ll be shot of her
today!
PASQUALE: Your
support’s appreciated...I’ll thank God when
she’s vacated.
MALATESTA &
PASQUALE:(as to Sofronia) You and your
lover are soon to discover your husband and brother have set
you a trap. You cooked your goose with that ill-mannered
slap! Now you have fallen straight into our lap. Ha ha! Ha
ha! Snap goes the trap!
ERNESTO'S
SERENADE: O liquid moon, in the watery skies...an
English June - it's raining and that's no surprise.
Precipitation dampens our assignation, but once we’ve
met, we'll not notice it's wet...we'll disregard the
showers, and when it's squally, we'll snuggle up for hours
beneath my brolly. Here at the gate, I await coming in, but
if you're late I'll be soaked to the skin. My ardour's
waning, my feet are freezing, it goes on raining, I go on
sneezing...
BACKING GROUP:
When planning rendez-vousing, advise your lover... in
Britain when you're wooing....stay under cover!
ERNESTO &
NOREEN (Love duet): Say once again that
you love me. ..Tell me again how you care for me...
Promise you’ll always be there for me... Swear
you’ll stay by me for life...
PASQUALE:
We’ve got you! Where’s your boyfriend?. Your fancy
man? I’ma see you doing the canoodle... the snog
snog... the hanky panky in the bushes.
NOREEN: You
astound me! That’s slanderous. There was no one here
but me.
MALATESTA: Now
listen, Don Pasquale - let me sort this out. You trust me,
don’t you?
PASQUALE:
I’ma trust you, Doctor.
MALATESTA: Then
you keep quiet and give me the free hand...the carta
bianca, eh?
PASQUALE: Si, I
give you the carta bianca.
MALATESTA
(to Noreen): Tomorrow in this house we are expecting
a new bride to arrive...the wife of your nephew
Ernesto...her name is Noreen.
NOREEN: (to
Pasquale) I hear about this wretched woman. A divorced
shop girl. I’ll not have her under my roof. If that
Noreen comes, I go!
PASQUALE: Pray
God!
ERNESTO: I
happened to be passing.
MALATESTA: Don
Pasquale has been assessing the situation with fresh eyes.
He now consents to your marriage to Noreen, makes you heir
to the da Corneto estate, and offers you an allowance of a
thousand pounds a year.
ERNESTO: Oh, my
dear uncle...can this really be true?
PASQUALE: If
Sofronia is completely against it, that’s a good reason
Don Pasquale da Corneto should be for it. Io
consento. Ernesto, my boy, run and fetch your dollybird,
and I’ll arrange for the marriage immediately.
Presto subito.
MALATESTA: No need
to fetch her. She’s already here. This is
Noreen.
PASQUALE:(utterly confused) Noreen is English...you’re
not her brother. Where is your sister?
,MALATESTA: Home
with my mother.
PASQUALE: Am I not
married?
MALATESTA: It was
a caper. Here’s what you signed...you can tear up the
paper.
NOREEN and ERNESTO:
Uncle, forgive us.
MALATESTA: It was
to show you the folly of marriage.
PASQUALE: I should
be grateful. It’s all forgotten now. (to Ernesto and
Noreeen) You’ll soon be married. May heaven bless
you, as I now do.
NOREEN
(finale): Don Pasquale, have compassion
for our younger generation. As life changes, so does
fashion, and you’re well past your sell-by date.
We’re beyond your comprehension. Things were different
in your youth. You’re a product of convention. You
can’t change...you’re too long in the tooth. You
should face it, and be truthful - act your age now, and
behave. No use trying to be youthful, You can’t run
with one foot in the grave.
CLICK BELOW to see the
Malatesta/Noreen duet, ACTI
THE CRITICS
WROTE:
"The
whole thing (Don Pasquale) is just right for the Bel Canto
company, and its irrepressible director/librettist Tom Boyd.
Librettist? Bel Canto comes with a special weapon: Boyd's
ability to fashion sparkling new English versions of the operas
he stages... Boyd has transferred the setting to 1960s London,
which works perfectly well. Just five days before opening night
Deryck Hamon, singing Pasquale, was taken ill and had to be
replaced. Graham Stone knows the role well, but Tom Boyd’s
words were new to him. But strong acting and singing, plus
skillful manipulation of post cards carrying the script,
produced a triumphant performance. This Pasquale is no
revolting old lecher, but a lonely man invoking sympathy. There
is strong support from Paul Carey Jones as the creepy
Malatesta, and from Stephen Brown as Pasquale’s wronged
nephew Ernesto. Pamela Hay also sings well, and looks the part
of Noreen...Down in the pit, William Bell and his band have a
high old time in this exuberant production."
Giles
Woodforde,The Oxford
TIMES, 4
March 2005
"With
interesting adaptations to the score and libretto, this is not
an opera for the purists, but if you want to be entertained, I
recommend this version of Don Pasquale. It was a more
satisfactory production than the recent effort at Covent
Garden*. Stage director Tom Boyd has made an excellent job of
converting Donizetti's 19th century comedy to the swinging
1960s, with contemporary language, costumes and stage sets. The
eponymous anti-hero, strongly sung at short notice by Graham
Stone, displays high artistic taste in copies of Renaissance
paintings on his walls, only to have them replaced by Andy
Warhol after his marriage to the trendy Noreen, pleasingly sung
by Pamela Hay...Lionel Bassett, Sandra Dukes and Bob Cook
contributed amusingly in their minor roles. Outstanding with
his high acting ability and warm resonant voice, Paul Carey
Jones portrayed the catalyst Dr Malatesta with aplomb and
conviction. " Anne
Dunn, The
Gloucestershire ECHO,
1 March 2005
*reference
to the Royal Opera production of Don Pasquale by Jonathan
Miller, December 2004
"Donizetti
took the then unusual step of specifying "modern dress"
for the 1843 Paris premiere of his last comedy, so it would
seem perverse - as Jonathan Miller did recently at Covent
Garden - to put the opera back in time. Yet there is also a
danger of Don Pasquale's period manners appearing
old-fashioned today, and it was neatly solved here in Tom
Boyd's production for his Gloucestershire-based company. By
setting it in Soho of the Swinging 60s, while preserving an
Italian flavour by making Pasquale and his household Sicilian
immigrants, he still supplied exoticism by the standards of
genteel Cheltenham. Norina became Noreen, a sales assistant in
Carnaby Street, and the stage was set for a clash of not just
generations but cultures. Playing a bumbling old cardiganed
character, Graham Stone was a lively Pasquale; a last-minute
stand-in, he incorporated discreet use of of some crib notes
(The production used Boyd's own translation, a broad and
broadly witty adaptation which replaced the recitatives with
dialogue) into his amusing and warmly sung act. Pamela Hay cut
a glamorous figure as the blonde dollybird and disclosed a fine
lyric voice; her phrasing was beautifully coloured, her
coloratura secure. Paul Carey Jones made a smooth Malatesta
with an incisive baritone, and Stephen Brown was likeable as
Ernesto destined for the hippy trail. All were good at getting
the translation across". John
Allison, editor, OPERA
magazine, May 2005.
"For many
years now, Bel Canto's annual production has provided a pocket
of sustained excellence in the entertainment calendar of the
Cotswolds. For their latest offering Tom Boyd and William Bell
have taken Donizetti's 19th century masterpiece and set it in
the London of the 1960s. ...a typically unlikely operatic plot
- but no matter. Operas are about singing, acting and direction
and in these, Bel Canto, as ever, excels. In Tom Boyd's witty,
wily and with-it new English libretto, the fun and games take
place in Italian Soho during the swinging sixties, when girls
in mini skirts were on the pill, boys in flares were on the
make, and the generation gap had widened into a canyon. A
quartet of top professional singers makes this year's Bel Canto
production a musical feast as well as a bundle of laughs:
Pamela Hay as Noreen brings beauty and vivacity to match her
beautiful soprano, the baritone Paul Carey Jones is superb as
the scheming Malatesta, and tenor Stephan Brown is perfect as
the foppish Ernesto. All bring dramatic awareness and stage
presence to match their vocal talents. And a particular word of
praise for Graham Stone, an eleventh hour replacement as Don
Pasquale, whose performance betrayed hardly a hint of
hesitancy. The libretto is Tom Boyd at his best, full of witty
rhymes and amusing quips. William Bell, in his 500th
peformance, brings his customary expertise to the musical
direction and the sets and costumes perfectly reflect the
opera’s main theme. Space precludes individual accolades
for all, but everyone fully played their parts in producing an
evening of laughter and rich entertainment. Highly recommended
indeed". Stuart
Russell,The Wilts
and Gloucestershire STANDARD
Letter
published in the Gloucestershire ECHO from a member of the
audience
"What we
saw at the Playhouse was an absolutely delightful production of
one of the greatest comic operas ever written in a totally
convincing updating by Tom Boyd, a master of his craft...
William Bell’s conducting displayed consideration and
perfectly chosen tempi. The performance was a joy, and I am
grateful that since coming to Cheltenham seven years ago, I
have been able to enjoy so many operas I would never have been
able to get to see in London.Michael
Webber, Cheltenham
PASQUALE:
I’ll explain the situation: quiet, quiet, very silent
to the garden we’ll go creeping. We observe with
vigilation from the shadows in the corner where we hide to
do the peeping. When this lover comes pursuing, and my wife
arrivies for wooing, you take notes on what they’re
doing for a witness’s report. If I catch them getting
randy, I will have my camera handy...I will photograph the
liaison for evidence in court.
MALATESTA
(to Noreen): Tomorrow in this house we are expecting
a new bride to arrive...the wife of your nephew
Ernesto...her name is Noreen.
