Peter Nolle / Recensioner

Pasquale’s home is as devoid of color as his films, with makeup, costuming and lighting emphasizing the monochromatic nature of the opening sets. Color bleeds into his world — first slowly, and then in bursts as his bride-to-be appears. It’s an engaging narrative gambit. Credit is due to Peter Nolle (scenery), Kathleen Trott (costumes), Thomas C. Hase (lighting) James D. Geier (wigs and makeup) and Doug Provost (projections). Mr. Glavin’s vocal work was deft and clean, although the orchestra overpowered his lower register at times. Tenor Javier Abreu faced a similar fate: his lyricism was superb — perhaps overwrought in some of the more melodramatic phrases — but his timbre didn’t always project clearly. Smaller standout roles included Ian Christiansen in a supernumerary role as Max the majordomo and baritone Tyler Zimmerman as a purported notary, each making hay with their physical comedy. American conductor Gary Thor Wedow maintained a sprightly pace throughout the evening, keeping a close connection between singers and the orchestra and coordinating the big ensemble numbers with precision. The orchestra sounded oddly treble-heavy, however. This unusual balance was most noticeable in big finale moments, which sounded thin compared to other productions. On the whole, however, this version of “Don Pasquale” is quality work, a genuinely funny bit of opera and fine way to close the Pittsburgh Opera season.