COSI FAN WHAT?

Minki Hong, Dongwei Shen, Michael John Butler, Maestro Patrick Furrer, Kayla Stein, Tivoli Treloar, and Theo Hayes

All we could think of at the opening performance of Cosi fan tutte at Juilliard was a song from Chorus Line entitled "Dance 10, Looks 3"--only we were thinking "Music 10, Production 3". We heard six superb singers doing justice to Mozart's comedy, and the excellent Juilliard Orchestra, under the baton of Maestro Patrick Furrer, filling the Peter Jay Sharp Theater with glorious sound.  The set by Charlie Corcoran was colorful and appealing--but where were we? Surely not in Naples. We are in front of the City Lights Bookstore, so it must be San Francisco.

The costuming by Andrea Hood appears rather odd but it's not the 18th century, that's for sure. As is our wont, we have not studied the Director's Notes prior to the opera. We try to keep an open mind and to let a work speak for itself. This one spoke not with the intention of Lorenzo Da Ponte and dear Wolfgang Amadeus Mozart but rather with the political intention of director Mo Zhou who, bless her heart, was trying to make points about women's liberation. What a heavy weight to place on a classic that is perfect just the way it was written. Do we need to sneak into the Metropolitan Museum of Art at night and paint over the Rembrandts and the Degas?

We sense lately a mistrust of the audience who really could be trusted to see this masterwork and enjoy what was apt to the times and compare it with the mores of today. Instead of involving the audience and letting them do the work, Ms. Zhou saw fit to impose her point of view. She even, as the program notes mention, modeled the two sisters after the debutant Nixon sisters and portrayed the two boyfriends as surfer dudes! And the manipulative jokester Don Alfonso as the poet Allen Ginsberg, appearing to be in the same generation.

These sisters have agency! They sense Don Alfonso's plot and get their revenge by walking out on the men. Wooooo!!!!  Very definitive, in spite of Mozart's music that leaves us unsettled, never very sure whether the girls will return to their respective fiancés or stay with their swapped lovers? And what about altering the libretto to suit the "concept".  "Well, we can just fool the audience the way the men in the opera tried to put one over on the young women; maybe we can count on no one knowing Italian, stupid Americans as they are."

Nevertheless, the performance was worth attending for its excellent musical values; we would expect no less of Juilliard students. Some of the singers are pursuing their Artist Diploma and others, their graduate degrees.  All were in fine voice and did exactly what the director asked of them, much of it leaning toward the physically excessive. Similarly, the costumes  were too much of a muchness. Although the 1960's are as remote to us as the 18th century, we have seen enough newsreels to know how Jackie Kennedy dressed and what "hippies" looked like. Only the excellent set was consistent with the chosen epoch and location, with the unmistakable Golden Gate Bridge in the background.

Nonetheless, it is the voices that count and the six singers will leave this production with their respective roles "performance ready". If we were a casting director, we would hire all of them on the spot.

Beginning with the Fiordiligi of Kayla Stein, this super soprano had no problem negotiating the huge jumps in "Come scoglio", the acrobatics of which were reputedly created to skewer Da Ponte's mistress whom Mozart didn't like as she was cast in the role. The more gentle "Per pietà, ben mio, perdona" was affecting and persuasive. Ms. Stein has a lovely generous soprano, marked by agility.

Tivoli Treloar, as her sister Dorabella, successfully portrayed the more adventurous of the two and employed her pleasing mezzo-soprano instrument successfully in the emotional "Smanie implacabili" and later in "È amore un ladroncello" in which she justifies her behavior to her more faithful sister who is more successful at holding out against the importunate Ferrando.

Michael John Butler made a fine Ferrando. The hit tune "Un aura amoroso" is the aria the audience is waiting for but the hopeful sentiment becomes less hopeful in the subsequent "Io lo veggio" commanding a different more hesitant color in his warm tenor instrument.

As Guglielmo, Dongwei Shen's sweet baritonal sound helped to ensure a successful courtship of Ferrando's fiancée Dorabella. "Non siate ritrosi" does not lead to immediate success but before long, he is a singing a sweet duet with Dorabella "Il core vi dono", the two voices melding in perfect harmony. (Who could resist?) We loved the scene in which his gloating over his success triumphs over his sympathy for the less successful Ferrando. Of course, his gloating is short-lived as his Fiordiligi eventually succumbs to the advances of Ferrando.

As the worldly wise Despina, mezzo-soprano Theo Hayes overcame some ludicrous costuming to give a vocally excellent performance, warning the two sisters about soldiers "In uomini, in soldati, sperare fedeltà?" and later, encouraging them to find new lovers after the young men have presumably gone off to (the Vietnam) war. (Drafted in error, according to this "modernization"). We wondered whoever wore a punk hairstyle in the 60's but, there it was.

The character who puts the plot in motion is Don Alfonso and it was difficult visually to perceive Minki Hong as a worldly wise older man due to the costuming but his excellent singing triumphed over both concept and clothing.

As a lover of ensemble singing, we particularly enjoyed "Soave sia il vento" as the sisters and Don Alfonso watch the ship sail off. Additionally there is a scene at the end of the first act in which all six characters are in a frenzy, suggesting to us the seedling that grew into the famous Rossini sextets. Interesting that we never noticed that before.

As noted, Mozart's character revealing music rose above any attempt to make the story "relevant". It may not be politically correct (we of course, are not) to mention that members of both genders in that age group often play fast and loose with the feelings of their lovers. (Maybe all lovers do, even those that transcend genderhood.) One could easily rewrite this opera and reverse the genders but we hope no one does. Our feeling is that if you object to the values and morals of a story, write your own damn opera!  Leave Mozart alone!!!!

© meche kroop
 

INFIDELITY AND BETRAYAL

Amanda Majeski, Jarrett Ott, Rod Gilfry, Ben Bliss, and Emily D'Angelo
(Photo by Ken Howard for Santa Fe Opera)

It was at the tail end of the Enlightenment when Mozart and Da Ponte created their puzzling masterpiece Cosi fan tutte, puzzling because it has one foot in comedy and the other in tragedy. It must have scandalized the opera-going public at that time. As late as the 20th c. audiences might have understood the shame experienced by cheating fiancées; but 21st century morality has changed and partner swapping no longer shocks or shames.

Given Mozart's marvelous music and an attractive young cast, we expected a captivating telling of the tale, especially since we have previously enjoyed the fresh takes on Händel's operas provided by Stage Director R.B. Schlather. To say we were disappointed would be a gross understatement; in fact we were appalled by this meretricious production.

We frequently closed our eyes during the "important" arias so we could focus on the glorious voices. It was indeed a casting coup to have engaged these artists who were excellent vocally and who worked well as an ensemble, apparently doing their best to give Mr. Schlather what he wanted.

Tenor Ben Bliss, possessor of a gorgeous instrument, could have melted anyone's heart with his "Un'aura amorosa". His voice has expanded in the past couple of years without losing any of its tonal luster. It was amazing that Fiordiligi could hold out for so long!

Baritone Jarrett Ott has a compelling stage presence and sings with baritonal beauty that was never lost in this low lying tessitura. Mozart did not give him a memorable aria but "Non siate ritrosi" was given a fine delivery. He was memorable in his seduction of Dorabella.

The role of Dorabella was performed by the excellent young mezzo-soprano Emily D'Angelo who possesses an instrument of distinctive texture. We particularly enjoyed her performance of "Smanie implacabili" for its gorgeous vocalism and over-the-top dramatics.

The soprano role of Fiordiligi was performed by Amanda Majeski who readily conquered the wide skips of the showpiece aria "Come scoglio".  However we were distressed by a hard edge in her voice that sounded shrill. In duets and ensembles this feature created an unpleasant imbalance in the harmonies. Also, her ornamentation could have been crisper in its articulation.

Baritone Rod Gilfry is always a welcome presence, even when he portrays un unlikeable character like Don Alfonso. How can one like an older man who treats his young friends as puppets to play with!  We call him guilty of entrapment.

Soprano Tracy Dahl got a lot of laughs as Despina and we loved the particular timbre of her high soprano. It was particularly funny that her height brought her barely to the shoulders of the other artists. "Una donna a quindici anni" was given plenty of sass.

We always enjoy Mozart's duets and ensembles, especially "Soave sia il vento". The esteemed conductor Maestro Harry Bicket led the Santa Fe Opera Orchestra in a lively reading of the score, also giving the lyrical moments plenty of space.

We also noticed that moments of comedy were enhanced by leaving an extra beat of silence right before a humorous line. We don't know whether Mo. Bicket or Mr. Shlather was responsible for this but it worked well.

Now, about the production--we found it illogical, incomprehensible, and just plain ugly. It would take forever to relate every single instance of directorial waywardness but let us name a few. In Act I, all four of the young lovers were directed to move jerkily around the stage, roll on the floor, fight, and bounce off the walls. 

Despina has a magic wand to "heal" the poisoned "Albanians" (who in this case were silver-clad cowboys) and appears to use it to advance Don Alfonso's machinations. If "magic" is involved, it undercuts the theme of human foibles and succumbing to the pull of romantic variety. In this production the women can't really take responsibility for their lapses although they do feel shame.

The final scene was particularly confusing. Don Alfonso makes all four young lovers kneel as if preparing for an ISIS beheading; then he pours water or some other liquid on their heads. 

Characters were often onstage when they were not supposed to be. Don Alfonso had no justification for announcing the return of the fiancés just when everyone was partially deshabillé.

Terese Waddens' costume design furthered the confusion. The young men first appear in what seems to be tennis whites, as do the young women. The men then appear dressed as cowboys, so that when they next appear as the "Albanians" the only apparent difference is that their moustaches are gone. This makes it even more preposterous that the ladies don't recognize their fiancés.

Despina is costumed in an unflattering housedress and later in a spangled evening gown that harmonizes with those of her employers robbing her of her special role in the plot. No attempt was made to convince anyone that she was a notary or a doctor.

Dorabella at first looks very feminine with long hair. Toward the end she appears wearing a man's suit and very short hair. Why?

Paul Tate De Poo III's minimalistic set design was similarly ill advised. Flat architectural elements had square spaces cut out of them through which characters emerged in somersaults or fell through. The floor had a similar square hole through which characters emerged or descended. None of these movements served the plot. There were no props except for Despina's magic wand.

Perhaps Mr. De Poo and Ms. Wadden were just giving Mr. Schlather what he wanted, just like the singers. But the overall effect added nothing to our understanding of the characters. We speculate that Mr. Schlather wanted his audience to focus on the psychology of the characters and the emotional effects of their interaction. This is not the way to do it!

When we see a production that honors the intent of the librettist and composer and is given a specific context of time and place, we in the audience do the work of finding parallels with our own time and place, as well as differences. It gives us a feeling of participation and a sense of understanding of our place in history.

On the other hand, a barren production like this one was devoid of context. Such abstraction leaves us feeling alienated and disconnected, when we should be identifying with the characters and caring about their destinies.

So...Mozart 10: Schlather 2!  It was the production which was guilty of infidelity and the audience which was betrayed!

(c) meche kroop

 

COSÌ COSÌ

Nathan Hull, Deborah Surdi, Conrad Bullitt, Iris Karlin, Maestro José Alejandro Guzmán, Perri Sussman, and Drew Watson

We have long asserted that singers make good directors; we have always admired Nathan Hull's direction at Amore Opera but we have yearned to hear his resonant baritone and last night we did--in the role of Don Alfonso in Mozart's Così fan tutte. His performance as the cynical and experienced older friend of Fernando and Guglielmo was spot on--effective without overplaying or grandstanding. He knows how to create a believable character and his diction was crisp. Every word was clear.

Another notable feature of this performance was the vastly improved performance of the orchestra under the baton of Maestro José Alejandro Guzmán. We have grumbled in the past about out-of-tune strings but last night the orchestra was in tune and together. The overture fairly sparkled! Of course, there were some recalcitrant French horns but that's par for the course. The program notes did not identify the player of the (electronic) harpsichord continuo.

The stage direction by Mr. Hull was unobtrusive and served to highlight the singers, rather than calling attention to some irrelevant "concept". There were, as usual, some very clever touches.  For example, when Despina, dressed as a quack doctor, pulls out a giant magnet, she points it at the potted plants which are made to shake and quiver, just like Ferrando and Guglielmo portraying the rejected Albanian suitors who have just taken "poison".

The sets are probably inherited from Amato Opera and were effectively lit by Duane Pagano. Costumes were designed by superb soprano Iris Karlin who created a strong-willed Fiordiligi. In harmony with her was marvelous mezzo Perri Sussman who was equally believable as Dorabella. Every scene between these two lovely ladies resonated with truth. They were supportive and competitive in turn, just like real sisters.

As their suitors, baritone Conrad Bullitt sang with fine tone and we enjoyed his smug glee when he succeeded in winning the all-too-willing Dorabella, his friend's fiancée. The role of Ferrando was sung by tenor Drew Watson who evinced a fine decrescendo. The role of Despina was sung by Deborah Surdi who was not always audible.

The packed house was unusually appreciative of all the humorous touches, most of them intentional, but a few which weren't. There were false mustaches coming loose and wigs worn on top of other wigs and hats falling off. It was all in good fun and just what we want in a comedy.

What we don't want in a comedy (or in a tragedy either for that matter) is an English translation! There was absolutely no justification for presenting this 1790 Italian language treasure in English. Mozart and da Ponte carefully married the vocal phrases to the text and it seemed criminal to come between them the way Don Alfonso broke up his friends' relationships.  

The uncredited translation might have been clever had we been able to understand the words! But Mr. Hull was the only one onstage who was consistently understandable and there were no titles. Fortunately, we know the story very well and there was a clear synopsis in the program for those who did not. Still, it is frustrating to try to understand what singers are singing when you can only catch a word or a phrase here and there. It might as well have been sung in Czech! After awhile we gave up trying and focused on the sound of the voice and the orchestra.

This led to the observation that English may be the worst language in which to evaluate the quality of a singer's voice. Just say aloud "Un aura amorosa" and feel how it rolls off the tongue. Now try "My love is like a flower" and you will see what we mean. Every gorgeous aria Mozart wrote seemed diminished.

Now Arthur Sullivan's music was made to suit the English language and we recall last December when Mr. Hull's libretto for Scrooge (review archived) danced into our ears. This did not happen last night.

We have reviewed Ms. Karlin and Ms. Sussman on many prior occasions and enjoyed their voices; but what if this had been their first time? We would have little idea of their artistry.

If the goal of presenting an opera in translation is to further our understanding, then each singer must have exemplary diction. Strangely, it is mainly foreign born singers who enunciate clearly.

Opera lovers in St. Louis have no choice. The Opera Theater of St. Louis only presents operas in English translation. But here in New York City, we have a choice and we choose opera in its original language.

Amore Opera presents forgotten masterpieces as well as old favorites and we are excited about hearing Meyerbeer's Dinorah next week, sung in its original French (YAY!). This unfairly forgotten masterpiece has not been heard in the USA in a century. Do get tickets before they sell out!

(c) meche kroop

COSI FA MANHATTAN SCHOOL OF MUSIC

José Maldonado, Victoria Crutchfield, Thomas Muraco, Shaina Martinez, WooYoung Yoon, Polixeni Tziouvaras, Dongwei Shen, Sungah Baek, and Juan Lázaro

When Tom Muraco puts on an opera, you tend to show up out of FOMO.  To miss one would leave you feeling cheated out of a predictably delightful experience. The operas are astutely chosen, the talented students are wisely cast, and the bare bones style of production allows one to focus on the music. In this case, we had an intense exposure to Mozart's masterpiece of romantic entanglement--Cosi fan tutte.

Maestro Muraco himself conducted and the score for two pianos and harpsichord continuo (actually an electronic keyboard) was devised by the three keyboard artists themselves--Sungah Baek, Juan Lázaro, and Yixin Tan. The three did a great job and we were able to hear compositional elements that we missed when the work was presented with full orchestra. Actually, we think we heard more music.  Could it be that some music that is generally cut was restored?  Or did our ears deceive us? There is enough music in this opera for two operas!

The students of Manhattan School of Music are as fond of Maestro Muraco as we are. We sat next to the podium as he conducted and can attest to the fact that he knows every word in the libretto and every note of the score. His love for music and for his students was equally obvious.

As Don Alfonso, the older cynic who sets the crazy plot in motion, José Maldonado might have stolen the show, were the other artists not as fine as they were. His huge Falstaffian presence and voice, augmented by seemingly natural dramatic chops, created a real character. Every glance and wry smile, every barb carried weight.

His partner in crime, the wily Despina was performed by soprano Yesul Yeon whose slender voice was well focused and whose comic chops matched those of Mr. Maldonado. Her featured aria "Una donna a quindici anni" was very well done. We loved the way she exaggerated the rolling of her "r"s.

Since the theme of Lorenzo da Ponte's libretto was fiancé swapping, the opera requires four engaging singers that we can care about, even while laughing at their puerility. As Fiordiligi we had the shining soprano Shaina Martinez who successfully negotiated the wild skips of "Come scoglio". Legend has it that Mozart wrote it thus to make the soprano he disliked bob her head like a chicken, due to the way she sang high and low notes!

As her sister, we heard marvelous mezzo-soprano Polixeni Tziouvaras, who did herself credit in her aria "Smanie implacabili".  Mozart made sure that each singer had an aria. Her voice harmonized beautifully with that of Ms. Martinez, especially in "Prenderó quel brunettino". Mozart made sure that there were also plenty of duets, trios, quartets, etc.

Tenor WooYoung Yoon has a pleasant ringing tenor and created a fine Ferrando; we enjoyed his voice most in "Tradito, schernito"; he had some splendid duets with baritone Dongwei Shen who excelled as Guglielmo. His aria "Donne mie, la fate a tanti" was beautifully rendered in all of its angst. The voices of the two men blended as successfully as those of the women.

One of our favorite ensemble pieces, "Soave sia il vento" was gorgeously sung by Mr. Maldonado, Ms. Martinez and Ms. Tziouvaras. We could not have been more pleased with the musical elements.

But what about the production elements.  As we indicated, this is a bare bones production and Director Victoria Crutchfield did well for the most part in the interactions among the singers. We loved the way the chorus (all excellent, by the way) moved the "furniture" (just a bench, a table, and some chairs) with Despina in charge, pounding the floor to summon the furniture movers for a scene change, which always seemed to involve lifting things over her head.

Our only quibble was with a few anachronisms. Probably to avoid the cost of costuming, the action seems to have been moved to the present, what with the cell phones and contemporary clothing. So why did the women carry 18th c. parasols?  The "Albanians" became "hipsters from Williamsburg and Tribeca".  Anyone from New York would know that Tribeca is populated by very wealthy Wall Streeters. You'd be hard pressed to find a hipster there.  Better to have used Bed-Stuy or Bushwick.

For those of us who understand Italian, hearing one thing and seeing titles saying something else creates a momentary lapse of concentration and involvement. A "brunettino" is a man with dark hair, NOT a man in spectacles! These disjunctions are occurring more and more as operas are squeezed into time periods that do not fit.

Minor criticisms aside, it was a fun evening and made us realize that we have more in common with the 18th c. Viennese than with the 19th c. audience which found this opera vulgar and scandalous.

There will be a repeat performance on Sunday matinée with a different but presumably equally talented cast.

(c) meche kroop

MORE MOZART

Kidon Choi, Maria Lacey, Sunyeop Hwang, Maestro Joseph Colaneri, Laura Alley, Heather Jones, Pavel Suliandziga, and Danielle Beckvermit

The second entry in our weekend of Mozart was a winning production of Mozart's 1790 masterpiece Cosi fan tutte, presented by The Mannes Opera at the Gerald Lynch Theater--of perfect size, grand acoustics and excellent sightlines. Our guest for the matinée was an opera newbie who enjoyed the entire affair just as much as we did--which was a very great deal.

We have no idea why it was set in the mid 1960's--an epoch as remote from us as the late 18th century. But, no matter, the direction was delightful, the singing superb, and the acting accomplished.  Director Laura Alley made sure that every action was motivated and the interactions between the characters made clear.

Maestro Colaneri's conducting elicited the fine musicianship of The Mannes Orchestra. Like all other Mozart operas, this one is filled with sparkling tunes that one can't resist humming as they linger in the brain.

The story of Lorenzo da Ponte's libretto is that of two young men challenged by an older wiser one over their belief in the fidelity of the two sisters with whom they are in love.  There is a wager and a plan to follow.  The plan is to tell the young women that they have gone off on a military excursion and then to reappear in disguise to court the women. 

Don Alfonso's plan is aided and abetted by Despina, the servant of the two sisters. The silliness seems a lot more acceptable in 18th c. style than in the 1960's. Instead of appearing as exotic "Albanians", they appear as rock 'n rollers with leather motorcycle jackets and t-shirts proclaiming Rolling Stones and The Who.  Why not? It's the swinging sixties, after all!

As Don Alfonso, baritone Kidon Choi nearly stole the show from a very talented cast. His acting was larger than life and his sturdy voice impressive.  It is no wonder that he is garnering prizes for his prodigious talent.

Spunky Despina was portrayed by Canadian soprano Maria Lacey who negotiated Mozart's music with aplomb and demonstrated comedic chops as the crazy doctor with his Mesmer machine and later as the faux notary. "In uomini, in soldati", showed her at her wiliest.

The sisters and their lovers were all excellent. Soprano Danielle Beckvermit was a knockout as Fiordiligi. Mozart's challenging aria "Come scoglio" was perfectly sung and indeed reflected upon her steadfast character--at least more steadfast than her sister!

Mezzo-soprano Heather Jones made a delightful Dorabella, at first histrionically devastated by Ferrando's departure in "Smanie implacabile" and later, coy as she succumbs to the advances of Guglielmo.

The two men were terrific. Tenor Pavel Suliandziga (whom we previously enjoyed so much as Nemorino in L'Elisir d'amore) was an ardent Ferrando, singing with beautiful unforced tone in "Un aura amorosa", ending it with a delicate decrescendo. When he learns that his beloved Dorabella has betrayed him with his buddy, his face revealed many shades of dismay.

As Guglielmo, originally more successful at seduction, baritone Sunyeop Hwang was equally fine with his smooth caressing baritone and fine phrasing. We especially enjoyed his humorous aria  "Non siate ritrosi" in which he describes his manly attributes.

    

There were countless marvelous moments--the sisters' duet "Ah, guarda sorella", and particularly the trio "Soave sia il vento".

We have seen productions in which the girls return to their original lovers and versions in which they stay with the new lovers. But we have never seen one in which they walk away from the wedding at the end.  That was original and surprising!

Costuming by Helen E. Rodgers was certainly authentic to the period and colorful. Set designer Roger Hanna created a trompe l'oeil golf course for the first scene in which Don Alfonso is playing golf with Ferrando and Guglielmo. Later, it doubled as a suburban back yard. One might call this production a "hole in one". Mannes really sank the putt!

(c) meche kroop

DA PONTE DAY

Teresa Tièschky and Matthias Winckhler

On occasion of the celebration of "Da Ponte Day", the Austrian Cultural Forum presented a fine recital in their acoustically perfect small hall last night.  With impeccable scholarship, pianist Wolfgang Brunner assembled a varied program of piano music alternating with arias and duets by Mozart for which Da Ponte wrote the libretti. Two excellent young singers from the Universität Mozarteum Salzburg were brought over to perform and we are delighted to report that they did justice to Mozart's music and Da Ponte's texts.

We have written several times about the challenges of singing lieder in a large hall--especially the challenge of creating intimacy.  In this case we had the opposite situation, one of scaling back large operatic arias and duets to suit a small hall.  This, the two talented young German singers accomplished without sacrificing the grandeur. Mozart must be "in the blood" so to speak.

Selections from Nozze di Figaro, Don Giovanni and Così Fan Tutte were presented--all the highlights we have come to know and love. Soprano Teresa Tièschky has the lovely light coloratura that we enjoy hearing and just the right personality for Susanna.  She introduced us to an aria we had never before heard which had been specially written for Adriana del Bene detta la Ferrarese for the 1789 revival of the opera.  The recitativo proceeded as expected but then...big surprise...no "Deh, vieni non tardar" but "Al desio di chi t'adora".  We'd love to hear it again!

Miss T. was just as charming as Despina and Zerlina and, in fact, sang another piece with which we were unfamiliar.  "Restate quà...Per queste tue manine", a duet with Leporello in which she ties him up! This duet was written for the first performance of Don Giovanni in Vienna in 1788. The part of Leporello was sung by Matthias Winckhler who has a graceful lyric baritone that falls gently on the ear.

Mr. Winckhler (untied) was even more impressive as Don Giovanni in the lovely serenade "Deh vieni alla finestra"; his duet with Ms. T. "La ci darem la mano" was enacted so well that the audience demanded an encore and we got to hear it again.  Significantly, the two young artists put a slightly different spin on it the second time which lent a sense of spontaneity that we genuinely appreciated.

Mr. W.'s flexibility of characterization was evidenced when he sang "Hai già vinta la causa!".  Perhaps Il Conte and Don Giovanni are both arrogant men but he showed us two different characters. His Guglielmo was an interesting third characterization.

All of this wonderful singing alternated with some rarely heard piano pieces, perfectly performed by Wolfgang Brunner.  So many composers wrote variations based on Mozart's operatic melodies, including his own son Franz Xaver Mozart who was only 14 years old when he tackled the minuet from Don Giovanni.  Sadly his father died when he was a baby but he surely inherited his father's genes.

The other composers we heard who had tackled such variations included Johann Baptist Cramer, Joseph Woelfl and Camille Pleyel (son of Ignaz).  All stood tall on the shoulders of the giant--Wolfgang Amadeus Mozart.

Three cheers for the artists, for the Mozarteum and for the Austrian Cultural Forum for introducing us to so many novelties and for doing such a fine job on the standard pieces.

© meche kroop

COSI FA JUILLIARD

       


We cannot seem to get enough of Juilliard.  From undergraduates trying out their performing wings at the Liederabends to fully professional rising stars, performances are invariably of the highest quality.  Last night's opening of Così Fan Tutte is a case in point.  In cooperation with The Metropolitan Opera Lindemann Young Artist Development Program, the Ellen and James S. Marcus Institute for Vocal Arts at The Juilliard School presented a performance of Mozart's Cosi Fan Tutte that would be a winner in any big city in the world.  It was astutely cast with gifted young singers from both houses and directed by the esteemed Stephen Wadsworth.  The superb Juilliard Orchestra conducted by Alan Gilbert, Music Director of the New York Philharmonic, did credit to their training and also to Maestro Gilbert's intense guidance and rapport with the instrumentalists.  Mozart's melodies were handled with both sensitivity and gusto.  The harpsichordist was Bryan Wagorn.

What about this strange story, libretto by Lorenzo Da Ponte? It is strange because it is funny and tragic at the same time.  What makes it amusing is the moral and actual blindness of the two sisters Fiordiligi and Dorabella who fail to recognize the disguises of their fiancés and their servant Despina.  What makes it tragic is the resulting moral uncertainty as to which of the two men each young woman really loves as well as the price paid for confusing love and lust.  In these dark times of ours, Director Stephen Wadsworth has chosen to emphasize the dark side of the opera which is generally played as a piece of fluff.  Even the comic antics have an edge of disturbing hysteria.  There is no happy ending here as the four lovers are literally brawling at the end.  There is also a great deal of anger in Mr. Wadsworth's concept, manifested by overturned furniture and thrown objects.  Yes, love is painful and happy endings are not realistic.  So we must accept our failures and disappointments.

The two sisters were well cast.  Soprano Emalie Savoy brought Fiordiligi to life as the more conflicted of the two.  Her "Per pietà, ben mio, perdona" was beautifully sung and the trace of tightness in her Act I "Come scoglio" was gone.  Mezzo Wallis Giunta portrayed Dorabella, the somewhat more adventuresome of the two; she is as lovely to look at as to listen to.  We especially enjoyed her "Smanie implacabile".

Mezzo Naomi O'Connell was pure delight as the wily servant Despina, seemingly evolved from the commedia del'arte tradition.  She was full of lively energy and exhibited fine technique in "Una donna a quindici anni".  Her advice to her two mistresses kept the audience giggling and her mannerisms firmly established the differences in social class.  She managed to portray the doctor and the notary with a minimum of "shtick".

The two friends fared equally well in both vocalism and dramatics.  Tenor Alexander Lewis was a charming Ferrando who sang a lyrical "Un'aura amorosa".  Baritone Luthando Qave gave a fine performance as Guglielmo who lords it over Ferrando after having seduced Ferrando's fiancée Dorabella; after Ferrando seduces the reluctant Fiordiligi, he "sings a different tune".

Bass Evan Hughes was most convincing as Don Alfonso and succeeded in establishing his character during the overture.  He charmed us in his aria "Oh, poverini, per femmina giocar cento zecchini?" in which he mocks the two young men who accept his wager.

The entire cast, a symmetrical one to be sure, operated successfully as an ensemble and created believable characters.  Duets, trios and ensembles were beautifully balanced.  The size of the house was perfectly matched by the size of the voices.

The Scenic Design by Chalie Corcoran and the Costume Design by Camille Assaf were true to period (18th c.) and place (Naples) adding to the verisimilitude.  Lighting by David Lander was spot on, without calling attention to itself.