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'{{Infobox opera | name = ''Don Pasquale'' | type = [[Opera buffa]] | composer = [[Gaetano Donizetti]] | image = Luigi Lablache in Don Pasquale.jpeg | image_upright = | caption = [[Luigi Lablache]] as Don Pasquale in the 1843 premiere | librettist = {{plainlist| * [[Giovanni Ruffini]] * Donizetti }} | language = Italian | premiere_date = {{Start date|1843|01|03|df=y}} | premiere_location = {{Nowrap|[[Théâtre-Italien]], Paris}} }} {{for|the film based on the opera|Don Pasquale (film)}} '''''Don Pasquale''''' ({{IPA-it|dɔm paˈskwaːle}}) 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<ref>Ashbrook & Hibberd 2001, p. 244</ref> but, on the published libretto, the author appears as "M.A." Donizetti so dominated the preparation of the libretto that Ruffini refused to allow his name to be put on the score. This resulted in confusion over the identity of the librettist for more than half a century,<ref>Ashbrook 1982, p. 174</ref> but as Herbert Weinstock establishes, it was largely Ruffini's work and, in withholding his name from it as librettist, "Donizetti or ''[[#Accursi| [his assistant]&zwnj;]]'' Accursi may have thought that, lacking Ruffini's name, the authorship might as well be assigned to Accursi's initials as to a pseudonym".<ref>Weinstock 1963, p. 363</ref> The opera was first performed on 3 January 1843 by the [[Théâtre-Italien]] at the [[Salle Ventadour]] in Paris with great success<ref>Donizetti 1870; Chouquet 1889, p. 238. (Chouquet mistakenly gives 4 January as the date of the premiere)</ref> and it is generally regarded as being the high point of the 19th century ''opera buffa'' tradition and, in fact, marking its ending. ==Composition history== {{multiple image | align=left | width1 = 200 | image1 = Engraved portrait of opera singer Giulia Grisi, dressed to perform "Norma" (1844).jpg | caption1 = Giulia Grisi, 1844 | width2= 172 | image2 = Antonio Tamburini II Litho.jpg | caption2 = Antonio Tamburini }} Donizetti had just returned to Paris from Vienna in the autumn of 1842 and it was there that it was suggested to him by [[Jules Janin]], the newly appointed director of the ''Théâtre-Italien'', that he might compose a new opera for that house.<ref name=WEIN88-90>Weinstock 1963, pp. 188—190</ref> Janin prepared a formal proposal on 27 September, but while no specific subject nor title was mentioned, Janin suggested that it should be a new ''opera buffa'' tailored to the talents of some major singers including [[Giulia Grisi]], [[Antonio Tamburini]], and [[Luigi Lablache]].<ref name=WEIN88-90/> {{anchor|Accursi}} At around the same time in September, the Italian émigré librettist [[Giovanni Ruffini]], who lived in Paris, was approached by Michele Accursi (who is described as "Donizetti's Paris factotum, [an] Italian exile, and politically treacherous double agent" <ref name=WEIN88>Weinstock 1963, p. 188</ref>) with the suggestion that Ruffini offer his services to Donizetti as a librettist. This is confirmed by a letter from Ruffini to his mother of around 5 October in which the librettist tells her of Accursi's suggestion that the composer would use a story which was written in 1810 and that he would need "a working stonemason of verses to remake the old libretto, to cut, change, add, plaster, and I don't know what."<ref name=WEIN88-89>Ruffini to his mother, 5 October; 11 October; and date unknown, in Weinstock 1963, pp. 188—189</ref> In addition, it is clear from another letter on 11 October to his mother that Ruffini is hard at work: "I've been eating up the paper, as they say. It's not a question of doing it well or doing it badly, but of doing it fast."<ref name=WEIN88-89/> By the end, Ruffini stated that so much of the refinement of the work had been done by Donizetti that he felt that "my freedom of action having been paralyzed by the maestro, I don't, so to say, recognize it as mine".<ref name=WEIN88-89/> Therefore, he refused to have his name associated with the libretto, which was eventually published by [[Casa Ricordi]] as by "M.A.", since it was Accursi who officially ceded the rights to Ricordi so long as his name was never associated with the work.<ref>Weinstock 1963, p. 189—190</ref> In the tradition of opera buffa, the opera makes reference to the stock characters of the ''[[commedia dell'arte]]''. Pasquale is recognizable as the blustery [[Pantalone]], Ernesto as the lovesick [[Pierrot]], Malatesta as the scheming [[Scapino]], and Norina as a wily [[Columbina]]. The false ''Notary'' echoes a long line of false officials as operatic devices. With rehearsals in progress in December 1842, it appeared that there was general pessimism as to its success: "the atmosphere during rehearsals was frigid" states Weinstock and records the lack of interest from the management and the orchestra musicians. "The work had been condemned, judged", he concludes.<ref name=WEIN194>Weinstock 1963, p. 194</ref> However, during the evening of the final dress rehearsal, Donizetti added a new piece which he had already written for the tenor, ''Com'è gentil'', which was designed for the third act. As for fears for the opera's success, the composer had none: "Have no fear for me...My work will be a success", he stated.<ref>Donizetti to Escudier, in Weinstock 1963, p. 194</ref> == Performance history == At its premiere ''Don Pasquale'' was performed by four of the most celebrated singers of the day<ref>Harewood & Peattie 1997, p. 211; Ashbrook 1992, p. 1224.</ref> and was an immediate success.<ref>Weinstock 1963, p. 194; Ashbrook 1982, p. 175.</ref><ref>Reviews of the premiere: ''[[Revue et gazette musicale de Paris]]'' [https://archive.org/stream/revueetgazettemu1843pari#page/11/mode/1up vol 10, no. 2 (8 january 1843)] (in French); ''[[Le Ménestrel]]'', [http://gallica.bnf.fr/ark:/12148/bpt6k5621446p/f1.image vol. 10, no. 6 (8 January 1843)] (in French).</ref> It was recognized at the time as Donizetti's comic masterpiece<ref>Budden 1992, p. 1211; Harewood & Peattie 1997, p. 211; Ashbrook & Hibberd 2001, p. 244–245.</ref> and, to this day, is still considered as such. ''Pasquale'' remains one of the most popular of his 66 operas,<ref name=Loewenberg>Loewenberg 1978, columns 827–829.</ref> as well as being one of the three most popular Italian comic operas, the others being [[Gioachino Rossini|Rossini]]'s ''[[The Barber of Seville]]'' and Donizetti's own ''[[L'elisir d'amore]]''.<ref>Osborne 1994, p. 291.</ref> The first performance in Italy was at [[La Scala]], [[Milan]] on 17 April 1843 with Ottavia Malvani (Norina), Napoleone Rossi (Pasquale), Leone Corelli (Ernesto), and [[Achille De Bassini]] (Malatesta). Its first performance in Vienna was at the [[Kärtnertortheater]] (in Italian) on 14 May 1843, a production in which Donizetti participated and added the comic baritone duet "Cheti, cheti, immantinente" from a discarded portion of his unperformed opera ''[[L'ange de Nisida]]''.<ref>Ashbrook 1992, p. 1224.</ref> In England it was first presented on 29 June 1843 at [[Her Majesty's Theatre]] in London (in Italian).<ref name=Loewenberg/> The opera was translated into French by [[Gustave Vaëz]] and [[Alphonse Royer]]<ref>[https://books.google.com/books?id=4iwUAAAAQAAJ&pg=PA3 French libretto (Brussels, 1843)]</ref> and given in Brussels on 11 August 1843, [[Lille]] on 9 November 1843, and at the [[Théâtre d'Orléans]] in [[New Orleans]] on 7 January 1845.<ref name=Loewenberg/><ref>Ashbrook & Hibberd 2001, p. 244 (New Orleans).</ref> The first Australian performance was presented in Sydney on 12 October 1854 at the [[Royal Victoria Theatre, Sydney|Royal Victoria Theatre]]. In the years since World War II, the opera has been given frequently.<ref>[http://operabase.com/oplist.cgi?id=none&lang=en&is=Don+Pasquale&by=&loc=&stype=abs&sd=4&sm=1&sy=2012&etype=abs&ed=&em=&ey= ''Don Pasquale'': performances since 1 January 2012] on operabase.com. Retrieved 4 May 2014</ref>. == Roles == {| class="wikitable" !Role ![[Voice type]] !Premiere cast, 3 January 1843<br />([[Conducting|Conductor]]: [[Théophile Tilmant]]) |- |Don Pasquale, ''an elderly bachelor'' |[[bass (voice type)|bass]] |[[Luigi Lablache]] |- |Dr Malatesta, ''his physician'' |[[baritone]] |[[Antonio Tamburini]] |- |Ernesto, ''Pasquale's nephew'' |[[tenor]] |[[Giovanni Matteo Mario|Giovanni Mario]] |- |Norina, ''a youthful widow, Ernesto's beloved'' |[[soprano]] |[[Giulia Grisi]] |- |Carlino, ''Malatesta's cousin and a notary'' |bass |[[Frederick Lablache|Federico Lablache]] |- | colspan="3"|''Servants'' |} == Synopsis == {{Listen|type=music|filename=Overture to Don Pasquale - U.S. Marine Band.ogg|title=''Overture to Don Pasquale'' (6:21)|description=Composed by Gaetano Donizetti, performed in 1993 by [[U.S. Marine Band]].}} :Time: Early 19th century<ref>The synopsis is based in part on Melitz 1921, [https://books.google.com/books?id=KtI5AAAAIAAJ&pg=PA99 pp. 99–100].</ref> :Place: Rome === Overture=== The music is suggestive of an opera of this type, bright, and lively, it starts with plenty of percussion and brass instruments. After a while, the ambience changes to suggesting a party. The overture ends with a satisfactory finale. ===Act 1=== ''Scenes 1–3: A room in the home of Don Pasquale, at 9 o'clock'' Ernesto has refused the woman that his uncle Don Pasquale had found for him, and as a result is to be disinherited. Ernesto declares his devotion to the young – but poor – widow Norina. In view of Ernesto's determination, Don Pasquale decides to marry in old age to produce his own heir, and anxiously awaits the arrival of his physician, Dr. Malatesta, who is determined to teach Don Pasquale how foolish he is being, but has been pretending to search for a suitable bride. Malatesta, confronted with Pasquale's impatience, mutters that he is a buffoon, but proceeds to describe the attributes of the bride-to-be (''Bella siccome un angelo'' – "Beautiful like an angel"). Honest, modest and sweet – when pressed, Malatesta reveals she is in fact his sister. Overcome with joy, Pasquale demands to meet her at once, and sends Malatesta to fetch her, before singing of the love that has gripped him (''Ah, un foco insolito'' – "A sudden fire"). Ernesto comes back and pleads with the Don to consult with his friend Malatesta – when he hears that Malatesta supposedly supports Pasquale, he is amazed at this apparent betrayal (''Mi fa il destino mendico'' – "Fate has made a beggar of me"). Ernesto determines to elope and writes to tell Norina that all is lost. ''Scenes 4–5: An apartment in the home of Norina'' Norina sits alone, reading a book. She recites a passage, before laughing at the situation described and reflecting on her own temperament (''So anch'io la virtù magica'' – "I too know your magical virtues"). She is in cahoots with Dr. Malatesta and impatiently waits for him to come and explain his plan at which he had only hinted. A servant delivers the letter from Ernesto, which she quickly reads and is instantly dismayed. Malatesta arrives to explain the stratagem, but Norina cuts him off and hands him the letter, which he reads aloud: Ernesto has announced his intention to leave Rome, and Europe altogether. Malatesta reassures her, saying that he has adapted his plan: Norina shall play the part of Malatesta's sister. Having arranged for his cousin to act as a notary, they will easily deceive the Don. Norina consents to play her part in the deception, and they discuss her strategies in a lively duet (''Pronta son; purch'io non manchi'' – "I am ready; if I do not miss"). ===Act 2=== [[File:Son tradito, calpestato (Don Pasquale).webm|thumb|Act II finale, "Son tradito", at the [[Liceu]] in 2015. Cast: Lorenzo Regazzo (Don Pasquale), Valentina Nafornita (Norina), Juan Francisco Gatell (Ernesto), [[Mariusz Kwiecien]] (Dottor Malatesta)]] ''A salon in the home of Don Pasquale'' Ernesto is alone: lamenting his fate, he considers his decision to leave Rome (''Cercherò lontana terra'' – "I shall seek a distant land"). He leaves the room just as Pasquale enters, dressed in his outdated finery, along with his servants, to whom he gives instructions to admit Malatesta on his arrival. He parades around in his grand costume, hoping it will conceal his advancing years. 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. ===Act 3=== [[File:Engraving premiere Don Pasquale at Théâtre Italien 1843 - La Fenice 2002 programma di sala p88.jpg|thumb|Staging of ''Don Pasquale'' at the [[Salle Ventadour]] in Paris (1843)]] ''Scenes 1–5: A room in the home of Don Pasquale'' Pasquale sits in a room, surrounded by piles of newly purchased jewels, dresses and the like, as the servants bustle in and out of Norina's apartment (''I diamanti presto presto'' – "The diamonds, quickly, quickly"). Dismayed by the piles of bills and invoices, the Don summons the courage to confront his tyrannical new wife. Norina emerges, dressed to go out. He attempts to reason with her, but she pays little heed (''Signorina, in tanta fretta'' – "Madam, where are you off to in such a hurry"). He suggests that if she leaves, he may not allow her to return, an idea that she meets with patronising insincerity (''Via, caro sposino'' – "There, there, dear little husband") but the discussion ends in her slapping him. As she exits, she drops a note which Pasquale picks up and reads. The note is addressed to Sofronia, arranging a meeting in the garden with its unnamed, admiring author. Pasquale calls for a servant to summon Malatesta, before leaving the room. The servants return and, amongst themselves, at once complain at the amount of work they are being made to do, and reveal how much they are enjoying the farcical drama developing between Pasquale and his new wife (''Che interminabile andirivieni!'' – "Such endless coming and going!"). At the approach of Malatesta and Ernesto, however, they exit, assured of more entertainment to come. Malatesta reminds Ernesto of the finer points of their plan, and the latter leaves. The doctor moves forward to greet Don Pasquale, who tells him of Norina's intended assignation, and his own plan to expose her unfaithfulness before a magistrate. Malatesta persuades him to moderate his plan and Pasquale, believing him an ally, consents to his conditions, while plotting his revenge on Norina (''Aspetta, aspetta, cara sposina'' – "Wait, wait, dear little wife"). ''Scenes 6–7: The garden, adjoining Pasquale's house'' In the garden, as night draws in, Ernesto sings of his love for Norina, as he waits for her arrival (''Com'è gentil'' – "How lovely"). At last, Norina emerges, and they express their love: (''Tornami a dir che m'ami'' – "Tell me once more that you love me"). Don Pasquale and Malatesta have observed and, as they reveal themselves, Ernesto covers himself with a cloak and runs to the house. Pasquale tries to confront Norina – he has caught her ''in flagrante'' – but this only provokes a fight that leaves the Don spluttering. She refuses to leave at his demand, so Malatesta, as per his agreement with Pasquale, takes over. Pretending to negotiate with Norina/Sofronia, he tells Pasquale that the only way to make her leave will be to allow Ernesto to marry his beloved, whom "Sofronia" apparently despises. Pasquale consents, and calls out to the house, from which Ernesto and the servants emerge. He instructs Ernesto to send for his would-be bride, but Malatesta reveals that Norina is in fact the woman Pasquale thinks he married, while the real Sofronia remains in a convent. All are reconciled, and the moral of the story – not to marry in old age – is revealed in a playful quartet (''La moral di tutto questo'' – "The moral of all this"). ==Recordings== {| class="wikitable" !Year !Cast<br/>(Don Pasquale,<br>Norina,<br>Malatesta,<br>Ernesto) !Conductor,<br/>Opera house and orchestra !Label<ref>[http://www.operadis-opera-discography.org.uk/CLDODONP.HTM Source of recording on operadis-opera-discography.org.uk]</ref> |- |1930–31 |Attilio Giuliani,<br />Ines Alfani-Tellini,<br />Lorenzo Conati,<br />Christy Solari |[[Lorenzo Molajoli]]<br />[[Teatro alla Scala]], Milan Orchestra and Chorus |78rpm records: Columbia<br />Cat: GQX 10100-10105 |- |1932 |[[Ernesto Badini]],<br />Adelaide Saraceni,<br />[[Afro Poli]],<br />[[Tito Schipa]] |[[Carlo Sabajno]]<br />La Scala Orchestra and Chorus |CD: Arkadia<br />Cat: 2CD 78017 |- |1952 |[[Sesto Bruscantini]],<br>[[Alda Noni]],<br>Mario Borriello,<br>[[Cesare Valletti]] |[[Mario Rossi]],<br>Orchestra e Coro Sinfonica di Torino della RAI |CD: Warner Fonit Cetra<br>Cat: 8573 87476-2 |- |1964 |[[Fernando Corena]],<br />[[Graziella Sciutti]],<br />[[Tom Krause]],<br />[[Juan Oncina]] |[[István Kertész (conductor)|István Kertész]]<br />Vienna State Opera Orchestra and Chorus |CD: Decca "Originals"<br />Cat: 897402<ref name=greenfield>[[Edward Greenfield|Greenfield, Edward]], March, Ivan, Czajkowski, Paul, and Layton, Robert (2011). ''The Penguin Guide to the 1000 Finest Classical Recordings: The Must-Have CDs and DVDs'' (''"Don Pasquale"'', pp. 138–139). London: Penguin Books {{ISBN|0241955947}}</ref> |- |1978 |[[Donald Gramm]],<br />[[Beverly Sills]],<br />[[Alan Titus]],<br />[[Alfredo Kraus]] |[[Sarah Caldwell]]<br />[[London Symphony Orchestra]] and Ambrosian Opera Chorus |CD: EMI<br />Cat: CDMB 5 66030-2 |- |1979 |[[Evgeny Nesterenko]],<br />[[Lucia Popp]],<br />[[Bernd Weikl]],<br />[[Francisco Araiza]] |[[Heinz Wallberg]]<br />[[Münchner Rundfunkorchester]] and Chor des Bayerischen Rundfunks |CD: BMG<br />Cat: 74321 32229 2 |- |1983 |[[Sesto Bruscantini]],<br />[[Mirella Freni]],<br />[[Leo Nucci]],<br />[[Gösta Winbergh]] |[[Riccardo Muti]]<br />[[Philharmonia Orchestra]] and [[Ambrosian Opera Chorus]] |CD: EMI<br>Cat: 7 47068-2 |- |1993 |[[Renato Bruson]],<br>[[Eva Mei]],<br>Sir [[Thomas Allen (baritone)|Thomas Allen]],<br>[[Frank Lopardo]] |[[Roberto Abbado]]<br>[[Munich Radio Orchestra]] and [[Bayerischer Rundfunk]] Chorus |CD: RCA<br>Cat: 09026 61924-2 |- |1994 |{{Nowrap|[[Ferruccio Furlanetto]]}},<br>[[Nuccia Focile]],<br>Lucio Gallo,<br>[[Gregory Kunde]] |[[Riccardo Muti]]<br />Orchestra e Coro del [[Teatro alla Scala]]<br>(Stage director: Stefano Vizioli) |DVD: TDK<br>Cat: DVWW OPDPSC |- |2006 |[[Ruggero Raimondi]],<br />[[Isabel Rey]],<br />[[Oliver Widmer]],<br />[[Juan Diego Flórez]] |[[Nello Santi]]<br />[[Zurich Opera]] House Orchestra and Chorus<br />(Video recording of a performance at the Zurich Opera) |DVD: Decca<br />Cat: 000944109 |- |2007 |{{Interlanguage link multi|Claudio Desderi|it}},<br />[[Laura Giordano]],<br />{{Interlanguage link multi|Mario Cassi|it}},<br />[[Juan Francisco Gatell]] |[[Riccardo Muti]]<br />{{Interlanguage link multi|Orchestra Giovanile Luigi Cherubini|de}}<br/> Coro del Teatro Municipale di Piacenza<br /> |DVD: Arthaus Musik<br />Cat: 101303<ref name=greenfield/> |- | 2010 | [[Anna Netrebko]]<br>[[Mariusz Kwiecień]]<br>[[Matthew Polenzani]]<br>John del Carlo<br>Bernard Fitch | [[James Levine]]<br>[[Metropolitan Opera]] orchestra and chorus | [[Deutsche Grammophon]] |} ==References== '''Notes''' {{Reflist|30em}} '''Cited sources''' * [[Ashbrook, William]] (1982), ''Donizetti and His Operas'', Cambridge University Press. {{ISBN|052123526X}} {{ISBN|0-521-23526-X}} * Ashbrook, William (1992). "''Don Pasquale''" in Sadie 1992, vol. 1, pp.&nbsp;1224–1226. * Ashbrook, William; Sarah Hibberd (2001), in [[Amanda Holden (writer)|Holden, Amanda]] (Ed.), ''The New Penguin Opera Guide'', New York: Penguin Putnam. {{ISBN|0-140-29312-4}}. * [[Budden, Julian]] (1992). "Donizetti, Gaetano. 5. Operas" in Sadie 1992, vol. 1, pp.&nbsp;1209–1214. * [[Chouquet, Gustave]] (1889). [https://books.google.com/books?id=2FAoAAAAMAAJ&pg=PA238 "Ventadour, Théâtre"] in ''[[A Dictionary of Music and Musicians]]'', edited by [[George Grove]], Vol. 4, pp.&nbsp;237–238. London: Macmillan. * Donizetti, Gaetano (n.d. [1870]). ''Don Pasquale, dramma buffo in tre atti'', piano-vocal score. Milan: Ricordi. [http://imslp.org/wiki/Don_Pasquale_(Donizetti,_Gaetano)#IMSLP141736 IMSLP file #141736]. {{OCLC|730555921}} * [[Harewood, 7th Earl of|Harewood, The Earl of]] and Peattie, Antony, editors (1997). ''The New Kobbe's Opera Book''. London: Ebury Press. {{ISBN|0-09-181410-3}} * Loewenberg, Alfred (1978). ''Annals of Opera 1597–1940'' (third edition, revised). Totowa, New Jersey: Rowman and Littlefield. {{ISBN|978-0-87471-851-5}}. * Melitz, Leo (1921), [https://books.google.com/books?id=KtI5AAAAIAAJ&pg=PR3 ''The Opera Goer's Complete Guide''] on Google books. * [[Osborne, Charles (music writer)|Osborne, Charles]] (1994). ''The Bel Canto Operas of Rossini, Donizetti, and Bellini''. Portland, Oregon: Amadeus Press. {{ISBN|0-931340-71-3}}. * [[Sadie, Stanley]], editor (1992). ''[[The New Grove Dictionary of Opera]]'' (4 volumes). London: Macmillan. {{ISBN|978-1-56159-228-9}}. * Weinstock, Herbert (1963). ''Donizetti and the World of Opera in Italy, Paris, and Vienna in the First Half of the Nineteenth Century'', New York: Pantheon Books. {{ISBN|9780394422374}}. {{OCLC|601625}}. ==Further reading== *Allitt, John Stewart (1991), ''Donizetti: in the light of Romanticism and the teaching of Johann Simon Mayr'', Shaftesbury, UK: Element Books, Ltd; Rockport, MA: Element, Inc.(US) {{ISBN|1-85230-299-2}} *Black, John (1982), ''Donizetti’s Operas in Naples, 1822—1848''. London: The Donizetti Society. ==External links== {{Commons category|Don Pasquale}} * {{IMSLP|work=Don Pasquale (Donizetti, Gaetano)|cname=''Don Pasquale''}} * [http://www.donizettisociety.com/index.html Donizetti Society (London) website] * {{webarchive |url=https://web.archive.org/web/*/http://www.karadar.com/Librettos/donizetti_Pasquale.html|title=Libretto {{It icon }}|date= 20080610172042}} * [http://englishtouringopera.org.uk/about-eto/opera-synopses/donizetti-don-pasquale/ Longer synopsis of Don Pasquale] from [[English Touring Opera]]. * [https://books.google.com/books?id=4iwUAAAAQAAJ&pg=PA3 French libretto (Brussels, 1843)] * [http://opera.stanford.edu/Donizetti/DonPasquale/disco.html Discography from Stanford website] * {{IMDb title|0032400|Don Pasquale|(1940)}} * {{IMDb title|0260865|Don Pasquale|(TV 1955)}} * {{IMDb title|0253053|Don Pasquale|(TV 1985)}} {{Gaetano Donizetti|state=collapsed}} {{Authority control}} [[Category:Operas by Gaetano Donizetti]] [[Category:Italian-language operas]] [[Category:Opera buffa]] [[Category:1843 operas]] [[Category:Operas]] [[Category:Operas adapted into films]]'