For three months Linda has heard nothing from her parents. Letters, with money, which she has sent them, have remained unanswered—another of the situations in which this most artless heroine of opera discovers herself, without seeking the simple and obvious way of relieving the suspense.
In any event, her parents have become impoverished through the Marquis de Boisfleury's disfavour, for at this moment her father, in the condition of a mendicant, comes in to beg the intercession in his behalf of the Viscount de Sirval (Charles). Not recognizing Linda, he mistakes her for Charles's wife. She bestows bounteous alms upon him, but hesitates to make herself known, until, when he bends over to kiss her hand she cannot refrain from disclosing herself. Her surroundings arouse his suspicions, which are confirmed by Pierrot, who comes running in with the news that he has learned of preparations for the marriage of Charles to a lady of his mother's choice. In a scene (which a fine singer like Galassi was able to invest with real power) Antonio hurls the alms Linda has given him at her feet, denounces her, and departs. Pierrot seeks to comfort her. But alas! her father's denunciation of her, and, above all, what she believes to be Charles's desertion, have unseated her reason.
Act III. The village of Chamounix. The Savoyards are returning and are joyfully greeted. Charles, who has been able to persuade his mother to permit him to wed Linda, has come in search of her. Incidentally he has brought solace for Antonio and Madeline. The De Sirvals are the real owners of the farm, the Marquis, Charles's uncle, being only their representative. Linda's parents are to remain in undisturbed possession of the farm;—but where is she?
Pierrot is heard singing. Whenever he sings he is able to persuade Linda to follow him. Thus her faithful friend gradually has led her back to Chamounix. And when Charles chants for her a phrase of their first act duet, "O consolarmi affrettisi," her reason returns, and it is "Ah! di tue pene sparve il sogno" (Ah! the vision of my sorrow fades).
In this drama of naïveté, an artlessness which I mention again because I think it is not so much the music as the libretto that has become old-fashioned, even the Marquis comes in for a good word. For when he too offers his congratulations, what does Linda do but refer to the old libertine, who has sought her ruin, as "him who will be my uncle dear."
DON PASQUALE
Opera, in three acts, by Donizetti; words by Salvatore Cammarano, adapted from his earlier libretto, "Ser Marc'Antonio," which Stefano Pavesi had set to music in 1813. Produced, Paris, January 4, 1843, Théâtre des Italiens. London, June 30, 1843. New York, March 9, 1846, in English; 1849, in Italian; revived for Bonci (with di Pasquali, Scotti, and Pini-Corsi) at the New Theatre, December 23, 1909; given also at the Metropolitan Opera House with Sembrich as Norina.
Characters
| Don Pasquale, an old bachelor | Bass |
| Dr. Malatesta, his friend | Baritone |
| Ernesto, nephew of Don Pasquale | Tenor |
| Norina, a young widow, affianced to Ernesto | Soprano |
| A Notary | Baritone |
Valets, chambermaids, majordomo, dress-makers, hairdresser.