SFist Goes to the Opera: Cosi Fan Tutte
When the curtain opened on Mozart's Cosi Fan Tutte, we had an instant of doubt: a roulette table, a croupier, gamblers in a Monte-Carlo? Did we get the date wrong and went to the Tchaikovsky's Queen of Spades instead?
It only turned out that this production of Cosi had been set into a hotel on the Riviera at the onset of WWI, instead of the traditional foothills of the Vesuvio. The change actually makes sense for many reasons. The off-stage reason is that the Opera is a co-production with the Monte-Carlo Opera. On stage, the character of Don Alfonso, traditionally a philosopher, is now a croupier. Since he displays a hefty dose of cynicism and misanthropy, we prefer to believe he would not have been that great of a philosopher anyway. And the ominous background of WWI does explain that cynicism and the desperate frivolity of the main protagonists. The ending, in this WWI context, invites the spectator to reflect back on the whole opera in a different light.
Pictures Terry McCarthy for the SF Opera
These protagonists are a couple of friends, Ferrando and Guglielmo, who are engaged with two sisters, Fiordilgi and Dorabella. Ferrando and Guglielmo, so convinced are they of the loyalty of their fiancees, are willing to be about it with Alfonso. As part of the bet, they are supposed to fake their leaving to war, and come back disguised as Albanian sailors to seduce the girls.
The opera then unfolds, alternating between the comedy and the drama. The witty staging of the production takes every opportunity to favor the comic. And the singers, light on their feet and convincing actors, prove quite capable of perfect slapstick timing.
Tenor Paul Groves as Ferrando wowed us from the opening tip, his voice projecting the self-confidence of the character. Katherine Rohrer (she'll also sing Dorabella on the 29th, while Claudia Mahnke will perform on the other nights) was a steady presence with a warm
voice. Nathan Gunn, whom we last saw as Figaro in the Barber of Seville two seasons ago (he also was the title role on this stage in Billy Budd earlier this fall) could have entered the stage with
more energy: he was subdued compared to Groves in the opening "La Mia Dorabella." He kept getting better as the night went along however.
Similarly, soprano Alexandra Deshorties seemed a bit jittery at the beginning, sometimes jumping the start in her arias by a fraction of the beat. Richard Stilwell was a perfect fit for the world weary Don Alfonso. Frederica Von Stade stole many a scene she was in. She was a deliciously vulgar Despina, re-cast in this production as a maid in the hotel. She is the counterpoint to Don Alfonso's mysoginistic philosophy, underlying that, if women cannot be trusted, "even the weather is more dependable" than men. Her role has the most comic relief, having her impersonate a doctor or a notary and she is a pleasure throughout, effortlessly laughing or groaning in tune and in time.
In the pit, Anne Manson proceeds in a no-frill and deliberate manner. Under her conduct, the orchestra switches from the sadness of a separation scene to a military march to a prayer
song with accuracy. One would have enjoyed a bit less detachment and a bit more passion sometimes.
Those are nit-picks however, as the whole performance is thoroughly enjoyable. Mozart's music is one the most accessible, and we can only encourage those who haven't acquired the habit to go regularly to the Opera to attend this one: they will have a blast.
Cosi Fan Tutte
San Francisco Opera
301 Van Ness Avenue
San Francisco, CA 94102 (415)
861-4008
Performances: 6/29, 7/2, 7/5, 7/8 and 7/10.
Prices: from $35 for regular ticket; student rush tickets available at $15; standing room only tickets for $10.
See SF Opera for more information.