The Canadian duo behind some of opera’s biggest blockbusters
André Barbe, Renaud Doucet bring their production of ‘Don Pasquale’ to Canadian Opera Company
For many operagoers around the world, André Barbe and Renaud Doucet need no introduction.
The Canadian creative team are the masterminds behind some of opera’s biggest blockbusters, mounting productions of classic works at venues such as Teatro La Fenice in Venice and the historic Glyndebourne Festival in England. But almost paradoxically, merely by chance of how their careers have unfolded, the duo remain relatively unknown to audiences at home in Canada.
That is about to change this week. Barbe, a costume and set designer, and Doucet, a director and choreographer, are bringing their production of Gaetano Donizetti’s “Don Pasquale” to the Canadian Opera Company in Toronto.
The Italian comic opera, about issues of class and wealth, follows its titular character, Pasquale, who refuses to allow his nephew to wed a poor widow, Norina. After Pasquale himself decides to get married, his friend Dr. Malatesta joins forces with Pasquale’s nephew to dupe him and teach him a lesson: they’ll have Norina pretend to be Malatesta’s sister and will present her to Pasquale as his would-be bride.
This production, originally staged at the Scottish Opera in 2014 and running until May 18, marks the first time the pair are working together at the COC. Between rehearsals, Barbe and Doucet discussed their careers and vision for “Don Pasquale,” an opera not seen at the COC in three decades.
What is your vision for this ‘Don Pasquale’ and why is it set in the 1960s?
Renaud Douce When we were offered to do this project for the Scottish Opera, we were in Rome, strolling through the streets of the city. There’s nothing like Rome, but there’s also nothing like Rome in the 1960s — you know, like, “La Dolce Vita.” So, what we wanted to do was create an environment for Pasquale. Here, he’s the owner of an old, rundown pensione. And he has a bit of money, but he doesn’t take care of it very well.
What’s the story behind these green cats that are part of the production design?
André Barbe We added this story about Pasquale loving cats but being allergic to them. So all the green cats you will see in the set don’t actually exist. Rather, they are his obsession and he feels these green cats everywhere. To be content, he buys cat figures because his entire persona is that of a hoarder. When Norina arrives and pretends to be his new bride, she’s dressed in the same colours as these cats.
What is your dramaturgical process and how do you approach a new project?
AB We feel that we need to respect the intentions of the original authors, but we also need to know that we’re doing this piece for a contemporary audience who might not understand all the references from another period.
RD A transposition always needs to serve the story and make sure the story is comprehensible. Keeping a bit of temporal distance (like setting “Don Pasquale” in the ’60s) doesn’t throw it in the audience’s face. I hate it when an opera looks like a reality TV show. I’m going to the theatre for theatricality. I’m going to see a show for the emotion. If it looks like reality TV, I’d prefer to turn on my TV because it would cost me less and, when I’m bored, I can just do something else.
You don’t merely have a professional partnership, but you’re also a couple in real life. How do you balance that?
RD We argue a lot in our work. But as soon as the pencil goes down it’s not about work. It’s about life. And we absolutely do not mix our personal feelings with work. That is very important, especially for us, as we spend nearly 365 days a year together, mostly 24 hours a day.
How did you both get into the performing arts?
RD I studied ballet at the Paris Opera when I was 10. Then, I was fired at 11 because I was short and fat. I then joined the Conservatoire de Paris, where I danced and also played the flute. People always told me that I had more talent in music than dance. So, of course, I quit music and I did dance, because I’m a bit stubborn. And I proved them wrong.
AB I was introduced to opera by my grandfather, who sat me in front of the television one evening and told me to listen. I didn’t understand anything because it was Verdi’s
“Rigoletto,” sung in Italian, but I was fascinated to see those big sets. However, I wasn’t always destined to work in show business. I expected to be a graphic designer but, during the last year of my university degree, I found this class in set and costume design. I loved it and I applied to the National Theatre School of Canada. And I knew then that it was what I wanted to do.
Where is home?
RD We travel everywhere, so we are based in many different countries.
But Montreal is home. Strangely, Europeans like to say that we’re European-based. But we absolutely want to keep our Canadian residency because it’s important to us. We’re a Canadian team.
THIS INTERVIEW HAS BEEN EDITED FOR LENGTH AND CLARITY.
THE CANADIAN OPERA COMPANY’S PRODUCTION OF “DON PASQUALE” RUNS FRIDAY TO MAY 18 AT THE FOUR SEASONS CENTRE FOR THE PERFORMING ARTS, 145 QUEEN ST. W. VISIT COC.CA FOR TICKETS AND MORE INFORMATION.