Displaying items by tag: Cosi fan tutte

COSI FAN TUTTE translates loosely as ‘Thus Do They All’, referring to the inconstancy – fickleness, even infidelity – of women. ALL women. The opera, composed by Mozart with libretto by Lorenzo Da Ponte, begins with two infatuated men, Ferrando (Anthony Leon) and Guglielmo (Ian Rucker) extolling the virtues of their fiancées Fiordiligi and Dorabella.  Don Alfonso (Rod Gilfry), a self-appointed sage / philosopher, jeers that there is no such thing as a faithful woman and wagers he can prove their perfidy within 24 hours. Ferrando and Guglielmo take the flutter and agree that each will try, in disguise, to seduce the other’s gal. Tough duty, yeah?

Jacquelyn Stucker and Cecelia Molinari are brilliant as sisters Fiordiligi and Dorabella (respectively), with peerless voices and superb acting, including spirited physical comedy. Their performances are matched by Ana Maria Martinez as Despina, the sisters’ puckish maid. Don Alfonso recognizes Despina as a ready collaborator and together they seek to lead Fiordiligi and Dorabella into temptation.

The sisters remain aggravatingly faithful, even when Ferrando and Guglielmo are (seemingly) called into military service and reappear (in disguise) as tempting lady-killers. At the close of Act One the women still stand firm against the wiles of the plotters. I’ll leave to your imagination the further convolutions of the six participants in this 1930’s rom-com battle of the sexes. Hilarity and dazzling arias, frothy costumes and splashy sets, all overlying a hotbed of distrust and deception combine to generate something rather like a skanky reality show.

 The production is marvelous – it can hardly be otherwise with Enrique Mazzola conducting, Michael Cavanagh and Roy Rallo directing (with Katrina Bachus’ Assistance) and Constance Hoffman designing costumes. Erhard Rom designed the set and projections, enhanced by Lighting Designers Jane Cos and Chris Maravich, all drawing us inescapably into Fiordiligi and Dorabella’s world. The libretto was sung in Italian; Christopher Bergen projected English translations. My difficulty reading these resided wholly in my eyes (I simply must see an optometrist!). Wig and Makeup Designer John Metzner was responsible for the various mustaches that ultimately adorned the entire cast. Michael Black directed the chorus, and Francesco Millioto conducted the stage band, all drawn together by Stage Manager Alaina Bartkowiak.

Jacquelyn Stucker (Fiordiligi) purports that the frank silliness of COSI FAN TUTTE creates a lens to study the silliness of the strict gender norms of the 1930’s.

Anthony León Ian Rucker and the Company of Cosi fan tutte.

I found Act 1 of COSI FAN TUCCE a delight; in it Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century (as in Shakespeare's Cymbeline). At the intermission I was still mystified as to what 19^th and early 20^th century audiences considered offensive and immoral, but in Act 2 I found myself moving closer to their perspective. From the beginning I, of course, denounced the central tenet: ‘cosi fan tutte’ or ‘all women are like that’, but I found Da Ponte’s cynical libretto effectually counterbalanced by the beauty and emotional resonance of Mozart’s music. In Dorabella’s aria “Smanie implacabili"—"Torments implacable" she bemoans her lover’s absence. This sets the stage for Ana Maria Martinez to establish the maid Despina as pivotal to the comedic theme. The aria "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you expect faithfulness?", was an exhibition of Martinez’ magnificent soprano voice. Act 1 continues with Fiordiligi’s aria "Come scoglio"—"Like a rock"; Guglielmo bragging of his manly attributes with "Non siate ritrosi"—"Don't be shy"; and Ferrando praising his love: "Un'aura amorosa"—"A loving breath".

I have to interject here that I’ve not previously been a devotee of opera – soaring sopranos and booming baritones were wasted on me. However, in reviewing for Buzz Center Stage I’ve come to appreciate the operatic artform and am becoming a true dilettante. So, if you, like me, despise opera, your evaluation may be revised by a suitable overture like COSI FAN TUTTE; though I indeed found it problematic, that very characteristic served to fructify the discussion my companion and I enjoyed during the ride home. Check it out! You never know.

Act 2 helped me understand the antipathy earlier audiences felt for COSI FAN TUTTE. I didn’t find it risqué, vulgar, or immoral [admittedly I personally set these bars pretty high]. I don’t believe I’m introducing spoilers when I say that I found the ending simply wrong. A more believable conclusion [to me] would have Ferrando and Guglielmo running off with each other. I wonder what the reaction would have been to that at its 1790 Viennese premiere.

Additional considerations: this is a long opera – with the 30-minDon’t skip lunch! Or you’ll be stuck with the various flavors of sugar and salt offered at the concession stands at ridiculous prices.ute intermission it runs a full 3½ hours. Think of Return of the King, but with a much-appreciated break to pee. Don’t skip lunch! Make time for lunch/dinner - you’ll feel so much better than if you end up relying on the concession stand’s pricey sugar‑and‑salt options.

COSI FAN TUTTE runs at the Lyric Opera House ONLY until February 15!!

“No woman ever died for love” says Despina in Mozart’s charming little opera ‘Cosi fan tutte’. There may not be any deaths from love but, maybe a few tickled funny bones in this revival going on now at the Lyric Opera of Chicago. Originally conceived by John Cox about ten years ago, this version of ‘Cosi fan tutte’ moves the setting to WWI, or 1914. This seasons’ production is largely the same with direction by Bruno Ravella.

‘Cosi fan tutte’ is a lighter work by opera standards. It’s basically a rom-com sung in Italian. Written in 1790, Mozart would only see this opera performed five times in his life, as he died the following year. Mozart operas are typically upbeat with plenty of repeated phrasing. There’s no shortage of beauty pouring out of the pit conducted by James Gaffigan. This is a very accessible piece in both music and performances.

The plot is fairly uncomplicated. Two men Ferrando (Andrew Stenson) and Guglielmo (Joshua Hopkins) question the fidelity of their fiances Fiordiligi (Ana Maria Martinez) and Dorabella (Marianne Crebassa). With the help of Don Alfonso (Alessandro Corbelli) and sexy maid Despina (Elena Tsallagova), the two men pretend to go off to war. They return to their future wives in disguise and each attempts to seduce the other’s fiancé. If it sounds familiar, it is. This opera is loosely inspired by Shakespeare’s ‘Twelfth Night’.

Few people attend an opera for the dramatic chops of the performers. Opera is about beautiful music first and foremost. That said, these two fantastic sopranos are also gifted comedic actresses. The over-the-top emotions of these two characters makes for some really great physical humor. The projected dialogue is almost as ridiculous as the plot itself. Martinez takes up the pious role, making her seduction all the more fun to watch. Crebassa is the goofball and her performance radiates joy even as she’s cheating on her fiance. Though, it’s really Tsallagova who runs away with the laughs in her performance as Despina. This is also her US debut. A talent we’ll hopefully see more of in coming seasons.

As always, the set and costumes are sumptuous. Setting this piece in 1914 gives costume and set designer Robert Perdziola a lot to work with. It’s not terribly often you seen somewhat modern fashion at the Lyric. There are some lovely flapper-flavored looks going on. Nothing quite compares to the second act opening though. A background of venetian boats adorned with twinkling lights opens up to reveal the imposter suitors sailing in to claim their respective victories. The visual against the lovely Mozart music is one of the most arresting moments of the evening.

‘Cosi fan tutte’ is not an opera you’ll find on any before-you-die lists, but it’s an opera worth seeing. While it’s not the shortest show of Lyric’s season, clocking in at just under four hours, it’s definitely the easiest to get into. The music is for everyone, and will leave you feeling warm and tingly.

Through March 16th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600