Editing Don Pasquale (section)

===Act 3===
[[File:Engraving premiere Don Pasquale at Théâtre Italien 1843 - La Fenice 2002 programma di sala p88.jpg|thumb|Staging of ''Don Pasquale'' at the [[Salle Ventadour]] in Paris (1843)]]
''Scenes 1–5: A room in the home of Don Pasquale''

Pasquale sits in a room, surrounded by piles of newly purchased jewels, dresses and the like, as the servants bustle in and out of Norina's apartment (''I diamanti presto presto'' – "The diamonds, quickly, quickly").  Dismayed by the piles of bills and invoices, the Don summons the courage to confront his tyrannical new wife.  Norina emerges, dressed to go out.  He attempts to reason with her, but she pays little heed (''Signorina, in tanta fretta'' – "Madam, where are you off to in such a hurry").  He suggests that if she leaves, he may not allow her to return, an idea that she meets with patronising insincerity (''Via, caro sposino'' – "There, there, dear little husband") but the discussion ends in her slapping him.  As she exits, she drops a note which Pasquale picks up and reads.  The note is addressed to Sofronia, arranging a meeting in the garden with its unnamed, admiring author.  Pasquale calls for a servant to summon Malatesta, before leaving the room.

The servants return and, amongst themselves, at once complain at the amount of work they are being made to do, and reveal how much they are enjoying the farcical drama developing between Pasquale and his new wife (''Che interminabile andirivieni!'' – "Such endless coming and going!").  At the approach of Malatesta and Ernesto, however, they exit, assured of more entertainment to come.  Malatesta reminds Ernesto of the finer points of their plan, and the latter leaves.  The doctor moves forward to greet Don Pasquale, who tells him of Norina's intended assignation, and his own plan to expose her unfaithfulness before a magistrate.  Malatesta persuades him to moderate his plan and Pasquale, believing him an ally, consents to his conditions, while plotting his revenge on Norina (''Aspetta, aspetta, cara sposina'' – "Wait, wait, dear little wife").

''Scenes 6–7: The garden, adjoining Pasquale's house''

In the garden, as night draws in, Ernesto sings of his love for Norina, as he waits for her arrival (''Com'è gentil'' – "How lovely").  At last, Norina emerges, and they express their love: (''Tornami a dir che m'ami'' – "Tell me once more that you love me").  Don Pasquale and Malatesta have observed and, as they reveal themselves, Ernesto covers himself with a cloak and runs to the house.  Pasquale tries to confront Norina – he has caught her ''in flagrante'' – but this only provokes a fight that leaves the Don spluttering.  She refuses to leave at his demand, so Malatesta, as per his agreement with Pasquale, takes over.  Pretending to negotiate with Norina/Sofronia, he tells Pasquale that the only way to make her leave will be to allow Ernesto to marry his beloved, whom "Sofronia" apparently despises.  Pasquale consents, and calls out to the house, from which Ernesto and the servants emerge.  He instructs Ernesto to send for his would-be bride, but Malatesta reveals that Norina is in fact the woman Pasquale thinks he married, while the real Sofronia remains in a convent.  All are reconciled, and the moral of the story – not to marry in old age – is revealed in a playful quartet (''La moral di tutto questo'' – "The moral of all this").