The image of Dr. Malatesta in G. Donizetti’s opera “Don Pasquale”: on the issue of performance interpretation

This article provides a detailed musicological analysis of the character of Dr. Malatesta in Gaetano Donizetti’s comic opera Don Pasquale. The study focuses on the musical means through which the multifaceted image of the doctor - a key figure in the opera’ s plot - is constructed and developed. The research methodology is based on a comprehensive examination of Malatesta’s vocal parts across various numbers, including his solo romance, duets, trios, and the final quartet, with particular attention to melodic structure, harmony, rhythm, tempo, and performance instructions. The characterization of Dr. Malatesta is revealed primarily through ensemble numbers. The article analyzes his two duets with Don Pasquale, the quartet, and a trio, all of which are complex, multi-sectional structures typical of opera buffa finales. These numbers are characterized by frequent tempo changes, shifts between lyrical and comic episodes, and a variety of thematic material. A key challenge for the performer is to demonstrate flexibility in interacting with other ensemble members, agility in navigating these transitions, and the stamina required for these lengthy scenes. Malatesta’s solo expression is most fully presented in the romance from the large first-act duet. This section highlights the character’s lyrical side, requiring a cantabile singing style and virtuosic technique rooted in the bel canto tradition. The vocal line is distinguished by its grace, ascending scales, chromaticisms, and precise intonation, culminating in virtuosic passages that include scale movements, arpeggios, and fermata pauses. However, the dominant aspect of Malatesta’s musical portrait is the buffo element. This is especially evident in rapid parlando sections and buffopatter songs, often built on the repetition of a single pitch or specific melodic figures like octave leaps, fifths, thirds, and circumflex motifs. A prime example is the duet “Cheti, cheti, immantinente” (No. 11), where a tongue-twisting passage of sixteenth notes repeated on the same pitch for eight bars creates a striking comic effect. The orchestration, featuring sudden trills, staccato chords, and march-like fanfares, further enhances the humorous and sometimes satirical tone. The study concludes that the musical characterization of Dr. Malatesta in Don Pasqualeis multifaceted and masterfully crafted. Donizetti synthesizes the lyrical bel canto style with the traditional comic devices of opera buffa. This synthesis results in a dynamic, intelligent, and engaging character whose music demands from the performer not only technical proficiency in coloratura and diction but also a strong dramatic sense to navigate the swift changes in mood and situation. The image of Malatesta is therefore integral to the opera’s comic drive and structural integrity, serving as both a plot engine and a source of musical richness. The analysis draws on a range of musicological literature dedicated to Donizetti’ s operatic style, bel canto traditions, and the specifics of comic opera, contextualizing the findings within broader scholarly discourse. The author declares no conflicts of interests.

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