Gaetano Donizetti

Don Pasquale

9 October - 3 December 2011
Glyndebourne on Tour 2011

An instant hit across Europe following its premiere in 1843, Don Pasquale earned Donizetti the title ‘comic genius’. Heralded for its lyrical characterisation and witty exploration of greed and matrimony, this classic opera buffa remains one of the composer’s most popular works.

When Don Pasquale is unable to convince his nephew Ernesto to marry for money rather than love, he embarks on a mission to find himself a bride, produce an heir and thereby deprive Ernesto of his large inheritance. Dr. Malatesta, recognising the unhappy fate that would befall any woman in the clutches of this old fool, concocts a plan to dupe the wealthy bachelor. A series of highly comic encounters ensue, as the greed of the increasingly battered and bewildered Don Pasquale is exposed.

Staged by Glyndebourne on Tour for the first time, this biting comedy of manners is led by internationally acclaimed director Mariame Clément, who makes her Glyndebourne debut. It is conducted by Enrique Mazzola, who delighted audiences on last year’s Tour with his lively interpretation of Rossini’s La Cenerentola.

Bass-baritone Jonathan Veira takes the role of Don Pasquale, following the success of his comic portrayal of Don Magnifico in last year’s production of La Cenerentola.

This production is generously supported by Handel and Yvonne Evans.

A new production for the 2011 Tour.
Sung in Italian with English supertitles.

The performance lasts approximately 2 hours and 25 minutes including one interval of 20 minutes


Don Pasquale will be streamed live on August 6 2013

Main Content: 

Full details will be posted here in due course.

Creative team

Conductor Enrique Mazzola / Roy Laughlin (16, 19,
23, 26, 30 Nov, 3 Dec)
Director Mariame Clément
Designer Julia Hansen
Lighting Designer Bernd Purkrabek

Cast includes

Don Pasquale Jonathan Veira
Malatesta Andrei Bondarenko
Ernesto Enea Scala
Norina Ainhoa Garmendia

Audio files: 

Audio extracts courtesy of EMI Classics.

This recording is available to buy on CD from the Glyndebourne Shop

Glyndebourne on Tour 2011
Enea Scala as Ernesto in Don Pasquale, Tour 2011. Photo: Bill Cooper
Jonathan Veira as Don Pasquale and Andrei Bondarenko as Malatesta in Don Pasquale, Tour 2011. Photo: Bill Cooper.
Jonathan Veira as Don Pasquale in Don pasquale, Tour 2011. Photo by Bill Coooper.
Andrei Bondarenko as Malatesta and Ainhoa Garmendia as Norina in Don Pasquale, Tour 2011. Photo: Bill Cooper
Enea Scala as Ernesto and Jonathan Veira as Don Pasquale in Don Pasquale, Tour 2011. Photo: Bill Cooper
Jonathan Veira as Don Pasquale and Ainhoa Garmendia as Norina in Don Pasquale, Tour 2011. Photo: Bill Cooper.
Ainhoa Garmendia as Norina in Don Pasquale, Tour 2011. Photo by Bill Cooper
Cast of Don Pasquale, Glyndebourne on Tour 2011. Photo: Bill Cooper.
Enea Scala as Ernesto in Don Pasquale, Tour 2011. Photo: Bill Cooper
Enea Scala as Ernesto and Ainhoa Garmendia as Norina in Don Pasquale, Tour 2011. Photo: Bill Cooper
Cast of Don Pasquale, Glyndebourne on Tour 2011. Photo: Bill Cooper.
Ainhoa Garmendia as Norina in Don Pasquale, Tour 2011. Photo: Bill Cooper

"…This astute and elegant staging restores my faith in its [the opera's] virtues by depicting a bitter, poignant comedy of human folly and nastiness."

"Most striking of all, however, is Andrei Bondarenko… His Malatesta – a vividly impersonated conman – was sung with both seductive charm and a coolly sinister edge." - The Daily Telegraph, Rupert Christiansen [4/5]

"as Julia Hansen's three-sided set starts to revolve, elegant is the word. Each exquisitely designed section is less a room than a world vividly stamped with its owner's personality: crabby old Don Pasquale, his sulky young nephew Ernesto, and the vivacious young widow Norina."

"This is a very witty, sexy production with a brilliant performance at its heart: Jonathan Veira's Don Pasquale is the quintessence of "buffo", larger than life and utterly credible." - The Independent, Michael Church [4/5]

"… the music fizzes very stylishly under Enrique Mazzola's baton." - The Times, Richard Morrison [4/5]

"…the opera is sizzlingly conducted by Enrique Mazzola, and Ainhoa Garmendia sparkles as the vixenish Norina" - The Sunday Times, Hugh Canning

"Glyndebourne fizzes – without a drop of bubbly."

"From the first musky insinuation of the solo cello under conductor Enrique Mazzola, this is a Don Pasquale with an edge; peppery and pungent." - The Independent on Sunday, Anna Picard

"Scala's reedy tone and innate elegance are immensely appealing. Bondarenko, winner of the Song prize at Cardiff this year, has an astonishingly beautiful voice and is on his way to greatness if this is anything to go by Veira's subtle Pasquale is among the finest – he and Bondarenko stop the show with their second-act duet. Enrique Mazzola's conducting crackles with energy, too." - The Guardian, Tim Ashley [3/5]


Absolutely wonderful, the first time I have seen Don Pasquale but I thoroughly enjoyed it and didn't want it to end! Marvellous,beautiful,fabulous! Wasn't Malatesta brilliant.

Much enjoyed this superb production. Except I was too slow to catch the twist at the end !!

My view of the stage was a little restricted but I thoroughly enjoyed this production and it seemed the performers and audience were enjoying it just as much.Tremendous applause at the end.
If I am not mistaken the plot is based on Ben Jonson's "Epicene".
I wish we had been taken to hear Don Pasquale when I was struggling to understand my English Literature A Level prospectus
as I could have given a more colourful gloss to my exam paper!

A brilliant evening. Enjoyed every minute, not to mention the final few seconds.

I wish Glyndborne would publicise singers in advance . Especially when Cardiff singers of the year winners are in the cast. I would have stayed an extra day had I known when booking who the singers were.

Agree with Dave Austin - the changes to the relationship between Malatesta and Norina did not fit with what they were singing the rest of the time and really grated. It made the whole end of Act III meaningless and was completely unnecessary. A shame because everything else was delightful and the performances wonderful.

Congratulations to Mariame Clement in not allowing herself to be hamstrung by the limitations of original works of art. Mere interpretation is obviously not sufficient, one must have the confidence to completely reinvent. No matter that it did not match the libretto, the tone of the music or the spirit of the opera. Who minds that it rendered Don Pasquale's forgiveness, Norina's moral or Ernesto's beautiful heartfelt Act 2 aria all meaningless. Indeed, assuming the Don is unlikely to honour his promise of four thousand crowns, the whole plot as envisaged here seemed wonderfully pointless. Inspired thinking. I trust that even now she is repainting the Mona Lisa having a fit of the giggles and I am confident that any King Lear she directs will show the Fool as the French spy I've always suspected he was.

We had a great time again at G this year.... lovely stroll in the grounds and picnic in the tent... superb everything - production, set, costumes, acting, singing. The Malatesta/Norina flirtation was unnecessary but not harmful and the performace was very classy fun.

Regret that I thought highly unlikely that such a minx as Norina would turn her back om Ernesto's millions!
The ruse added nothing to the plot and certainly wasnt what either the librettist or composer intended.
However such manouevres seem rather commonplace these days more's the pity.

I have enjoyed all 3 operas , the singing and acting superb although, as a traditionalist, I would prefer that they weren't "modernised". The big bonus this year was that car park attendants were on duty after the performances thus reducing the disorganised chaos of previous years - well done.

Lovely music superbly performed and singing of a very high standard. The Touring Company excelled itself again.

Absolutely first class. It would be hard to improve on that.

I took my 19 year old daughter to see this production...she's an opera addict too now and we can't wait to see The Marriage of Figaro next year.

\Eight of us from Lewes have been coming together to the touring opera for over 15 years and we enjoyed Don Pasquale more than anything we have seen for many years . We avoid all minimalistic productions and always choose one in traditional costume. As I book and payout for the tickets in advance I have to enquire first about this or our friends will not join us or pay me for their tickets when the day comes !.

What has most disappointed us recently is that we always enjoyed eating with you before the performances but the cost has become ridiculously over priced in the last few years . We have lately eaten a hurried meal at somone's home before we arrive or, as this time, gone to a local restaurant or pub afterwards .Why can't you provide a simple meal or salad bar or Buffet ? I am sure you would find plenty of people to support you. We all think that £39 for 2 courses is outrageous for Touring Opera customers to pay on top of the price of the ticket, especially in the present financial climate which doesn't look like it will improve in the near future.

It would amaze me if the Festival were to be deprived of this wonderful tour production. It was not only a beautiful staging but also wonderfully sung and full of humour. 10 out of 10.

Excellent: My friend and I enjoyed it very very much.

A lively and interesting production, which took an interesting and imaginative view of the opera. Wonderfully well sung and acted with a real sense of drama. I hope that this new production will be revied at a future summer festival.

A million times better than some more routine of this opera that I have seen elsewhere.

Brian Stevenson

Loved it ,we have seen it before at the ROH where they had the benefit of a larger staging but it was well done given the complexity of the interaction and a smaller stage The performers all played their parts really well , great story ,funny and a with a moral !

I went with friends to this production and we all thought it was one of the wittiest and sophisticated productions we had seen for many years; beautifully sung and very tight in the ensembles, excellent costumes and a very imaginative set and staging. It was a joy and gave us an evening to talk about for many days.

An excellent production which retained the spirit of Donizetti's original music while updating the action. A pity Rinaldo wasn't up to the same standard! We thought Norina enterede into the role most effectively: the men all seemed a little stiff in comparison in compareison, though their singing wsa faultless. And it was warmer than in July!

Brilliant production - my friend and I enjoyed it immensely and thought the casting was just perfect.
Rosemary Norris

This was another great production. The end twist was clever, even if not in the libretto!
All parts sung really well, to single out one particluar contribution, we would say the condctor, who gave us the opportunity to hear new phrases, (a spell- binding trumpet solo) and whose tempi were always just right.

Post new comment

The content of this field is kept private and will not be shown publicly.

We welcome your comments on our site. Please note that Glyndebourne reserves the right to remove comments which are deemed inappropriate.

This question is to prevent automated spam submissions.
Enter the characters shown in the image.

Why is there a time limit?

Due to demand from other customers seats are reserved for a maximum of 20 minutes in order to allow you to complete your purchase. If the order has not been completed within this time, all seats will be removed from your basket.