“Brook has brought back to the repertoire after thirty years a fresh and cheeky production of Donizetti’s Don Pasquale and transformed it into a kind of opera-cartoon which will give you the time of your life” Wilhelm Sinkovicz, Die Presse, Don Pasquale, Wiener Staatsoper

When I work on a production, what matters most to me is decency and humanity. For Don Pasquale, I wanted to make the story relatable and bring out its timeless, human qualities. The tale of a lonely old man longing for love, trying to discipline a reckless nephew, is archetypal and still resonates today. It was important to me that Don Pasquale wasn’t just a blustering comedic character but a man who genuinely believes in what he is doing—a real human being.

I set the story in a run-down nightclub because opera allows for infinite possibilities, and my goal was to create a believable world where these events could unfold naturally. For Norina, I imagined her as an actress, which ties in beautifully with the text’s playful references to roles and transformations. This approach made her character’s shifts—from convent student to fiery wife—more grounded and believable.

For me, opera is theatre with music. I focus on the text and listen closely to the music because it often reveals layers beyond the words. For example, when Norina behaves cruelly in the third act, the music tells us she is not an evil character. It’s this interplay between text and music that fascinates me and shapes my direction.

I love working with singer-actors and helping them feel comfortable on stage. Rehearsals are about exploring emotions and finding reasons behind every action. Don Pasquale is a story that I approached with joy and a “brighter view of things,” always seeking the inherent humanity in the characters. For me, that’s what theatre and opera should offer—a connection to the audience and a chance to reflect on the world through a lens of humour, heart, and authenticity.