Editing Don Pasquale (section)

==Composition history==
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Donizetti had just returned to Paris from Vienna in the autumn of 1842 and it was there that it was suggested to him by [[Jules Janin]], the newly appointed director of the ''Théâtre-Italien'', that he might compose a new opera for that house.<ref name=WEIN88-90>Weinstock 1963, pp. 188–190</ref>  Janin prepared a formal proposal on 27 September, but while no specific subject nor title was mentioned, Janin suggested that it should be a new ''opera buffa'' tailored to the talents of some major singers including [[Giulia Grisi]], [[Antonio Tamburini]], and [[Luigi Lablache]].<ref name=WEIN88-90/>

{{anchor|Accursi}} At around the same time in September, the Italian émigré librettist [[Giovanni Ruffini]], who lived in Paris, was approached by Michele Accursi (who is described as "Donizetti's Paris factotum, [an] Italian exile, and politically treacherous double agent" <ref name=WEIN88>Weinstock 1963, p. 188</ref>) with the suggestion that Ruffini offer his services to Donizetti as a librettist. This is confirmed by a letter from Ruffini to his mother of around 5 October in which the librettist tells her of Accursi's suggestion that the composer would use a story which was written in 1810 and that he would need "a working stonemason of verses to remake the old libretto, to cut, change, add, plaster, and I don't know what."<ref name=WEIN88-89>Ruffini to his mother, 5 October; 11 October; and date unknown, in Weinstock 1963, pp. 188–189</ref>  In addition, it is clear from another letter on 11 October to his mother that Ruffini is hard at work: "I've been eating up the paper, as they say.  It's not a question of doing it well or doing it badly, but of doing it fast."<ref name=WEIN88-89/>  By the end, Ruffini stated that so much of the refinement of the work had been done by Donizetti that he felt that "my freedom of action having been paralyzed by the maestro, I don't, so to say, recognize it as mine".<ref name=WEIN88-89/>  Therefore, he refused to have his name associated with the libretto, which was eventually published by [[Casa Ricordi]] as by "M.A.", since it was Accursi who officially ceded the rights to Ricordi so long as his name was never associated with the work.<ref>Weinstock 1963, p. 189–190</ref>

In the tradition of opera buffa, the opera makes reference to the stock characters of the ''[[commedia dell'arte]]''. Pasquale is recognizable as the blustery [[Pantalone]], Ernesto as the lovesick [[Pierrot]], Malatesta as the scheming [[Scapino]], and Norina as a wily [[Columbina]]. The false ''Notary'' echoes a long line of false officials as operatic devices.

With rehearsals in progress in December 1842, it appeared that there was general pessimism as to its success: "the atmosphere during rehearsals was frigid" states Weinstock and records the lack of interest from the management and the orchestra musicians. "The work had been condemned, judged", he concludes.<ref name=WEIN194>Weinstock 1963, p. 194</ref>  However, during the evening of the final dress rehearsal, Donizetti added a new piece which he had already written for the tenor, ''Com'è gentil'', which was designed for the third act. As for fears for the opera's success, the composer had none: "Have no fear for me...My work will be a success", he stated.<ref>Donizetti to Escudier, in Weinstock 1963, p. 194</ref>