Opera Hamilton, now celebrating its 25^th season, chose a winner with this production. The sets and costumes were designed for the San Diego Opera, where they were also created. The idea for staging this opera in what appears to be Arizona came to producer David Gately in 1992, when he was asked to create a new production of Don Pasquale for the Chautauqua Opera. He didn't just invent the setting, but used some factual background. An Italian immigrant settled in Tucson around 1880 and opened a store there, which he called Pasquale's.

What makes this Western version also very palatable, is that no attempt was made to bring a political subtext into it. That is, unfortunately, too frequently the case when other works are reworked by directors searching for a new way to present a play or opera. Opera Ontario steered clear of all such notions, and what we got to see was a refreshing, plausible production with excellent vocal qualities, good stage direction by Rob Herriot, and generally fine orchestral presentation by the Hamilton Philharmonic Orchestra under the direction of Daniel Lipton.

I make the 'general' observation because on opening night, there was some hesitation at first in the overture, but the players soon found their way and proceeded to play with the panache required of the score. One also forgives the slight clunker when one of the sets came down in a scene with a loud thud, and the door in what was Don Pasquale's office, was a bit stuck and needed some careful handling at the start. While these are things that should be worked out during the dress rehearsals, it is not always easy to place a set designed for one stage onto another. At least this set looked fresh, unlike some, which after traveling to various opera houses, show wear and tear.

Bass Gregory Atkinson sang the roll of the old bachelor, Don Pasquale. The old fellow has decided to get married, so he can produce an heir, rather than leave his fortune to his nephew, Ernesto (tenor Stuart Howe). The don disapproves of Ernesto's love for the penniless widow, Norina (soprano Laura Whalen). He enrolls a family friend, Dr. Malatesta (baritone Gregory Dahl, to help him find a suitable bride, unaware that the doctor is actually on Ernesto and Norina's side. This is about all one wants to say about the story. There have to be some surprises in this opera buffa.

Howe makes a suitably youthful and also confused and heartbroken swain, who sees the prospects of a marriage to Norina fade away quickly. He handled with ease and appropriate tone the idyllic "Com'č gentil", which is surely the solo highlight of this opera.

Whalen had a firm hand on the role of Norina, who has to be both soft and pliable, and also shrewish when the time and action required. She managed to capture to perfection the tone of remorse required when she sings "Via, caro sposino" after having managed to drive the don to despair.

Atkinson infused Don Pasquale with the needed foolishness. His firm bass never faltered, even when the don was reduced close to tears by the bossy behavior of Dr. Malatesta's sister, Sofronia. As for Dahl, he showed himself to be perfect for the role of the doctor, who has a way of treating his patients with the kind of medicine they need, in the case of the don, a bit of humility—or better said, humiliation.

All in all, this production offered a very entertaining and musically satisfying evening. It proved to be a very good start for the company's 25^th season. One looks forward to Popera, scheduled for Nov. 25 and 27 at Hamilton Place, and Nov. 28 at the Centre In The Square in Kitchener-Waterloo under the auspices of Opera Ontario.