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.

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.

"[7] 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".

[16] The first performance in Italy was at La Scala in Milan on 17 April 1843 with Ottavia Malvani (Norina), Napoleone Rossi (Pasquale), Leone Corelli (Ernesto), and Achille De Bassini (Malatesta).

[15] The opera was translated into French by Gustave Vaëz and Alphonse Royer[18] and given in Brussels on 11 August 1843, Lille on 9 November 1843, and at the Théâtre d'Orléans in New Orleans on 7 January 1845.

Malatesta, confronted with Pasquale's impatience, mutters that he is a buffoon, but proceeds to describe the attributes of the bride-to-be (Bella siccome un angelo – "Beautiful like an angel").

Overcome with joy, Pasquale demands to meet her at once, and sends Malatesta to fetch her, before singing of the love that has gripped him (Ah, un foco insolito – "A sudden fire").

Malatesta arrives to explain the stratagem, but Norina cuts him off and hands him the letter, which he reads aloud: Ernesto has announced his intention to leave Rome, and Europe altogether.

Norina consents to play her part in the deception, and they discuss her strategies in a lively duet (Pronta son; purch'io non manchi – "I am ready; if I do not miss").

A salon in the home of Don Pasquale Ernesto is alone: lamenting his fate, he considers his decision to leave Rome (Cercherò lontana terra – "I shall seek a distant land").

Taking his seat, the "notary" writes out a marriage contract as dictated by Malatesta and Pasquale (Fra da una parta – "Between, on one hand"), where the Don bequeaths all his estate to be administered by Sofronia.

Pasquale is horrified at this transformation, while Malatesta and Ernesto can barely conceal their amusement (È rimasto là impietrato – "He stands there, petrified").

Summoning the household staff, Norina recites a long list of demands – more servants (young and handsome at that), carriages and horses, furniture – and instructs them to spare no expense, doubling all their wages.

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.

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!

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.

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.