Actually, I've just realised that Malcolm is a tenor, not a baritone. And he doesn't have a lot to sing.

Glad to see the Don Pasquale reports. When I first saw it, as a student in Oxford way back in 1967, I found the climactic moment in Act 3 when Norina hits Pasquale rather upsetting, even though she immediately regrets it. Later, I realised that much depends on the director and the singer of the role of Pasquale - is he just a buffoon who deserves all he gets or is he the victim of a nasty trick?

That patter-duet always brings the house down. At the Met, did they insert the spoken "Don Pasquale!", "Dottore!" (or is it the other way round?) just before the end? The first recording I bought of the opera was conducted by Riccardo Muti, and I was most disappointed to find that he'd omitted this extra piece of business which (I think) doesn't appear in the score.