A classic confection that's near perfection

Skylark Opera's second annual summer festival includes a trademark operetta, Sigmund Romberg's "The Desert Song," and one of the great comic operas, "Don Pasquale" by Gaetano Donizetti. The latter is the only one worth seeing.

"Don Pasquale" came close to being a perfect opera production, succeeding both musically and dramatically. The tale of an old fool who is outwitted by his best friend, Malatesta, his nephew, Ernesto, and Ernesto's fiancée, Norina, was utterly engaging. Director Robert Neu handled the classic farce with assured aplomb.

The vocal quartet was strong across the board. Bass Ron Nelman made an ideal Pasquale. His strong, resonant instrument and his willingness to gambol about the stage with uninhibited abandon were sources of endless delight.

Alicia Berneche, as Norina, demonstrated an impressive coloratura technique, with thrilling high notes and a strong trill. Her impeccable comic timing ensured that her bits were laugh-out-loud funny.

Robb Asklof brought a warm lyric tenor to Ernesto, and his plaintive arias became the heart of the show. Jeffrey Madison's rich baritone was a real asset as Malatesta, and he delivered a sly performance in what was essentially the straight-man role.

Conductor Steve Stucki led a sensitive, loving reading that amplified the farce, while still honoring the deeply human story.

Likewise, Neu created a wealth of outrageous business that was clever and surprising at every turn. Yet he maintained a disciplined hand, never disrespecting the integrity of the characters. His decision to update the story to a world of laptops and cell phones made the action more immediate and the contemporary references never became gimmicky.

'Desert Song,' unbuckled

When "The Desert Song" premiered in 1926, it was contemporary. Its story of an Arab uprising against the French in Morocco was right out of the headlines. And it captured elements of contemporary culture from Lawrence of Arabia to Rudolph Valentino.

Director Randy Winkler missed the work's swashbuckling excitement. In his dramatically inert production, none of the disparate elements jelled. Some of the acting was so stilted and the comedy so broad as to be embarrassing.

Thank heavens for the chemistry between Norah Long and Craig Verm as the romantic leads. Without them, this "Desert Song" would have been arid indeed. But his sweet, seductive baritone and her dazzling soprano offered partial recompense.

William Randall Beard is a Minneapolis writer.