The evening will be a celebration of two operas composed by the Bel Canto composer Gaetano Donizetti. The cast is all members of the Gauteng Opera Internship and Trainee programme.
Composer: Gaetano Donizetti
Venue: Tin Town Theatre
Dates: 8 (06pm), 9 (07pm), 10 June(04pm)
Duration: 1hr, 40 min (with interval)
Rita (1 act opera)
Rita Litho Nqai ++
Peppe Phenye Modiane+
Gaspar Chuma Sijeqa++
Bartolo Kanyiso Kula*
Don Pasquale Chuma Sijeqa++
Dr Malatesta Solly Motaung++
Ernesto Kagiso Boroko+
Norina Zita Pretorius++
Carlino(Notary) Lindo Maso*
Gauteng Opera Academy* Gauteng Opera Debut# Gauteng Opera Soloist+ Gauteng Opera Interns++)
Rita, ou Le mari battu (Rita, or The Beaten Husband) is an opéra comique in one act, composed by Gaetano Donizetti to a French libretto by Gustave Vaëz. The opera, a domestic comedy consisting of eight musical numbers connected by spoken dialogue, was completed in 1841 under its original title Deux hommes et une femme (Two Men and a Woman). Never performed in Donizetti’s lifetime, Rita premiered posthumously at the Opéra-Comique in Paris on 7 May 1860.
At an inn belonging to Rita, the tyrannical and abusive wife of the timid Peppe, the couple finds that their lives are thrown into turmoil with the unexpected arrival of Gaspar, Rita’s first husband, whom all believed to have drowned. In reality, Gaspar had run away to Canada. Believing that Rita has died in a fire, Gaspar has returned to obtain her death certificate so that he can remarry. When the two meet, Gaspar tries to run away. Peppe, however, sees this as an opportunity to free himself from Rita’s slaps because Gaspar is her legitimate husband. The two men agree to a game such that whoever wins has to remain with Rita. Both try to lose, but ultimately the winner is Gaspar. Yet Rita, who had suffered frequently from the hand of Gaspar, refuses to return to be his wife. Gaspar, pretending he has lost the hand, induces Peppe to declare his love for Rita and his firm intention to remain as her husband. The crafty Gaspar, having achieved his purpose, takes his leave from the reconciled couple.
Don Pasquale (Act 2 finale)
Don Pasquale is an opera buffa, or comic opera, in three acts by Gaetano Donizetti with an Italian libretto completed largely by Giovanni Ruffini as well as the composer. It was based on a libretto by Angelo Anelli for Stefano Pavesi’s opera Ser Marcantonio written in 1810 but, on the published libretto, the author appears as “M.A.”
Malatesta arrives with Norina in tow, and introduces her to Pasquale as his sister, Sofronia, fresh out of the convent. Pasquale is smitten, and Norina plays the part of a dutiful, modest and submissive lady, to Pasquale’s satisfaction. Norina consents to the proposed marriage, which delights Pasquale. He wants to send for the notary to conduct the ceremony straight away – conveniently, Malatesta has brought one along, who waits in the antechamber.
Malatesta fetches the supposed notary, as servants arrange a table. Taking his seat, the “notary” writes out a marriage contract as dictated by Malatesta and Pasquale (Fra da una parta – “Between, on one hand”), where the Don bequeaths all his estate to be administrated by Sofronia. The contract is quickly drawn up: Pasquale signs but, before Norina can affix her signature, Ernesto bursts in. Intending to say a final farewell, he is amazed to see Norina about to marry Pasquale. However, Malatesta persuades him not to say anything (Figliol non mi far scene – “Son, don’t make a scene”), and he is forced to act as the final witness much to Don Pasquale’s delight.
As soon as the contract is signed, Norina abandons her pretence of docility, and refuses Pasquale’s embrace. She announces her intention to teach him manners, and to have Ernesto as a gallant to accompany her on evening strolls. Pasquale is horrified at this transformation, while Malatesta and Ernesto can barely conceal their amusement (È rimasto là impietrato – “He stands there, petrified”). Summoning the household staff, Norina recites a long list of demands – more servants (young and handsome at that), carriages and horses, furniture – and instructs them to spare no expense doubling all their wages. Pasquale is stricken at his misfortune, so Malatesta urges him to go to bed.