Wolfang Amadeus Mozart’s title, “Così fan tuttie (Thus do all women) and Lorenzo Da Ponte’s libretto will likely elicit more than a few negative shakes of the head while watching Lyric’s current production.
The title and libretto cast women in general as overly emotional, flighty and needy. However, the opera’s subtitle, “The School for Lovers,” gives a bit more insight into the story line or moral that love can be fickle.
The characters going to “school” on love are Ferrando and Guglielmo who agree to a bet with their friend, the cynical Don Alfonso, that when tested, their fiancées Fiordiligi and Dorabella will not stay faithful for 24 hours.
The test proposed by Alfonso is that the two men pretend to go off to war but actually return as two Albanian sailors who then woo each other’s fiancée. If the plot sounds a bit like a Shakespearean comedy, know that at one time there was a proposal to set the music to a libretto that matched the Bard’s “Love Labours Lost.”
But no matter how much the libretto is out of sync with more enlightened views of women, Mozart’s music for Così, expertly conducted by James Gaffigan to bring out all its nuances and playfulness, is a delightful combination of a joyful romp and beautiful solos and duets.
American tenor Andrew Stenson as Ferrando and Canadian baritone Joshua Hopkins as Guglielmo are wonderfully nutty in this revival directed by Bruno Ravella (Original Director Jon Cox).
Puerto Rican-born soprano Ana Maria Martinez as Fiordiligi and French mezzo-soprano Marianne Crebassa as Dorabella are the stand-out voices in this production.
It’s possible the Lyric stage’s depth was not friendly for the male leads or to Italian baritone Allessandro Corbelli who could barely be heard as Don Alfonso. But the female vocalists, including Russian lyric soprano Elena Tsallagova (maid Despina) were always excellent even when blending with the others.
The second act takes on a different tone with the passionate “Fra gli amplessi” (“In the embraces”) duet of Fiordiligi and Ferrando that reveals real rather than the type of put-on emotions displayed as a farce in Act I. And then there is Dorabella and Guglielmo’s lovely “Il core vi dono” (I give you a heart) duet where a medallion she was given with her lover’s picture in Act I is now exchanged for a heart locket.
Robert Perdzioa’s set design of a fancy, Mediterranean resort works quite well with Mozart’s plot as does Perdziols’s costume design for this Così’s placement in 1914.
The problem I have with the opera is not the Lyric production but the libretto and its unsatisfying ending which I won’t reveal here.
“Così fan tuttie” is at the Lyric Opera of Chicago, 20 N. Wacker Drive, now through March 16, 2018. Running time; 3 hours, 25 minutes with 1 intermission. For tickets and other information call 312.827.5600 and visit Lyric Opera Cosi.
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