Johannes Schwärsky / Rezensionen

What are we left with? We must, with all due reason, stand up to the plague. Of course, this also applies to a visit to the theatre, where, in addition to annoying access controls and mask requirements in the hall, such a really comic opera as Donizetti's "Don Pasquale" can only provide limited pleasure – despite all the love and effort of all those involved. Nevertheless, we go and report on a premiere in which the singer-soloists only act on the narrow front stage, while behind them the Niederrheinische Sinfoniker provide their service in shrinking formation. The choir is deleted. Instead of a stage design, the Krefeld cartoonist Peter Schmitz has painted a staid living room on the illuminated stage background. The singers wear gloves against contact infections and do not come closer than 250 centimeters. And if it does – for example because the young couple finally wants to kiss – a factotum with a Forbidden! poster digs in between. Nevertheless, after 90 non-stop minutes, you cheerfully cheer your way home. Director Ansgar Weigner, who set up the "scenic arrangement" of this production, which was created in former lockdown times, is primarily responsible for this pleasing result. Together with his outfitter Anne Weiler, he invents two really funny rollable multifunctional wing chairs in checked look, puts the old sword slayer Pasquale as well as the young lover Ernesto in spicy diamond sweaters, both objects of desire: the sweet Norina in a sweet floral dress, the nasty Malatesta in nasty business anthracite. For this purpose, Schmitz caricatures are projected onto a screen, which unfold a certain, somewhat intentional interactive dimension. And because the plot of this Donizetti comedy, which was already out of time, is completely uncomplicated, the scenes purr straight towards the end, which becomes quite happy for most of those involved. Singing is done in expected quality. Johannes Schwärsky makes the Pasquale part extremely differentiated and sonorous, almost superior. In addition, the bass player plays with an almost weightless lust for Klamauk. Sophie Witte colors the Norina part with her pretty soprano and is – whether in a nightgown or ruffle dress – a neat, refined thing. Woongyi Lee as Ernseto shows his high-altitude, somewhat one-dimensional lyrical tenor extensively, but the catchy tune "Com'e gentil" succeeds him extremely finely. Guillem Batllori, baritone of the opera studio, gives the Malatesta remarkable acting presence, there is still a lack of vocal nuances. Gereon Grundmann has a silent, supportive, consistently funny role as a man for all occasions. All this is surrounded by the up-and-coming conductor Yorgos Ziavras, who a few years ago was still repeating in the opera studio, with extremely spirited sounds. Donizetti's age-wise mastery flashes from every beat, Ziavras leads the baton with so much verve that it even flies out of his hand. His performance, based on the skill of the Niederrheinische Sinfoniker, contributes significantly to the extensively applauded success of the evening. This "Don Pasquale" defies sparkling dark times.

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