DARMSTADT, Germany — “Thou shouldst not have been old till thou hadst been wise,” says the Fool to the ageing monarch in Shakespeare’s King Lear. The king has done the unthinkable: divided his kingdom, imperiling national unity and opening the way to civil strife and war. As often in times of crisis, it seems caprice, not reason, rules policy and stability is threatened by the arrogance and miscalculation of the grandiose self. In such historical moments, great art can exert an uplifting power, either through the catharsis of tragedy, or the relief of comedy. Parody, in its elevated form of comic opera, works to expose the follies of human behavior and invites careful self-reflection. Catharsis here comes in the form of laughter.
Gaetano Donizetti was a master of “opera buffa” — comic opera — and his “Don Pasquale,” which premiered at the Darmstadt State Theater on March 27, is a stunning example — even though the composer himself called it a “dramma buffo” and for good reason. Guest artists joined the Darmstadt ensemble and chorus in a cast that featured bass baritone Oliver Zwarg, baritone David Pichlmaier, tenor Theordore Browne, soprano Ofeliya Pogosyan, and bass baritone Pedro Ometto. It was a superb performance under director Geertje Boeden, dramatization by Frederike Prick-Hoffmann, chorus direction of Guillaume Fauch?re and musical direction of Johannes Zahn.
Starring as Norina (“Sofronia”) was Armenian soprano Pogosyan, who joined the ensemble last year. The accomplished young artist began her musical education at the St. Petersburg State Conservatory under the guidance of Irina Bogacheva and Dmitry Karpov. Before coming to Darmstadt, she performed at the renowned Semperoper Dresden from 2021 to 2023, where she completed the Young Artists Program, and as a guest performer in 2023/2024. She was an ensemble member at the Hagen Theater in 2024/2025. In summer 2025, following her debut as Clorinda in Rossini’s “La Cenerentola” in Darmstadt, she was engaged as a soloist in the ensemble for the 2025/2027 season.
Pogosyan has performed leading roles in several operas, including Gran Sacerdotessa in “Aida,” First Nymph in “Rusalka,” La Voce dal Cielo in “Don Carlo,” Papagena in “Die Zauberflöte,” Lisa in “La Sonnambula,” Musetta in “La Bohème” and the Fifth Maid in “Elektra.” Her rendition of Norina, the leading lady and only female soloist in “Don Pasquale,” was outstanding. Both as singer and actor she brought the challenging role — or roles — to life; endowed with a rich, full soprano voice, her delivery was controlled and secure while at the same time astonishingly free. She seems to sing the most intricate passages and embellishments effortlessly and to enjoy every moment on stage.
Love, Marriage, … and Money
The plot has standard opera buffa elements: a love story, disguise, intrigue and happy ending. Ernesto, a romantic young man, is in love with Norina, a young widow of slender means, not averse to remarrying. Ernesto’s wealthy but stingy uncle, aristocrat Don Pasquale, demands he marry a wealthy woman, or risk losing his inheritance. When Ernesto refuses, the ageing bachelor, played by internationally renowned bass baritone Oliver Zwarg, decides to take a wife himself and start a family. He seeks help from his friend Doctor Malatesta to find an appropriate bride. Malatesta, portrayed by baritone David Pichlmaier, hatches a plot: he will present as just the right candidate his alleged “sister” Sofronia, currently living in a convent, and recruits the intelligent and beautiful Norina to disguise herself as the fiancée. Don Pasquale should fall for the modest and charming Sofronia, marry her in a (fake) ceremony presided over by Malatesta’s cousin — a would-be “notary” played by bass baritone Pedro Ometto — and with a marriage contract ceding half his fortune to his bride as well as total control over the household.
