Cincinnati Opera presents zesty Cosi fan Tutte

By Burt Saidel

Let’s hear it for Wolfgang Mozart. He knew how to have fun!  From all reports, he was a rollicking sort of fellow, somewhat bothered by having the world’s greatest genius mind attached to his fun-loving spirit. He overcame that burden regularly and concentrated on hilarity and merriment.

All of his many musical works, especially his operas, are full of wit. Some are serious, or at least mock serious, like Don Giovanni, yet Mozart remained a delightful imp during his eventful but short life – and into eternity.

His opera, Cosi fan Tutte, given a highly innovative, fresh and, above all, fun production by Cincinnati Opera, is a perfect example.  From all indications, Mozart, and his highly eccentric librettist, Lorenzo Da Ponte, are still having fun.  

For more than two centuries, musicologists, conductors, directors and the hapless public have tried to apply morality, meaning and other conventional measures to this opera.  They forget that it was meant for fun – and it is fun.

Evans Mirages and Cincinnati Opera have no trouble recognizing the playful spirit and zesty joy of the work. They engaged director Alain Gauthier to create a production in the spirit of Mozart.  And, he certainly did.

Last season, Gauthier took an operetta that had been languishing on the shelves of music libraries for 125 years, Chabrier’s L’Etoile.  He created a joyous piece of delight.  His approach to “Cosi” is a bit more cautious but full of  innovations, allowing the search for inner meaning to be left in the spacious lobby of Music Hall and never be seen or heard from the stage.

The plot of “Cosi” has been called trivial, artificial, preposterous, immoral, etc., etc. All true say Mozart, Da Ponte and Gauthier; now, let’s get on with it.  With complete approval from the heavenly spheres, Gauthier moved the opera in time to the 1930s. The characters stayed in Naples, overlooking a stunning scene of the gorgeous bay, but the ambiance could have been any of the fabulous watering holes of the rich and famous of that era.

The cast, an amazing selection of wonderful singers who also “play well together,” carefully followed rule number one of opera. That rule is, quite simply, sing well.  All six of the principals had the pipes and used them to glorious perfection.  

They all looked the part, as well.  I am certain that the ladies of the audience were thinking, “Where can I get those clothes?”

The entire idea is “cosi fan tutte” Often mistranslated into “The School for Lovers” or “Never Trust a Woman,” it is simply, “They All Do It.”  If you think that only women are being blamed, the easily mutable Italian gender form could make it men, as well as women.  After all, “they all do it.”

The ploy is an ill-conceived bet by the egotistic men that their fiancées would never be unfaithful. The wily pivotal character, Don Alfonso, eggs them on to put the ladies to trial. In this recreation of the opera, Don Alfonso is the director of a movie.  This was evident but had little to do with the action.

The trial is a continuum of ardent pleading by the now disguised lovers.  They use every wile to break down the ladies’ firm resolve. All of this is aided by the chambermaid, Despina, who has no doubt that women are entitled to many lovers and to enjoy them all.  Of course, all turns out well once everyone realizes that “cosi fan tutte.”  

The cast, a sextet, in every sense of the word, featured the two handsome swains, Teddy Tahu Rhodes and Shawn Mathey. And handsome they were! The ladies, svelte and stunning Alexandra Deshorties, and effervescent Marianna Pizzolato did their best to protect their honor and faithfulness – but, “cosi fan tutte.”

As Despina, Nathalie Paulin invented the word darling.  She cavorted, sang and acted like the perfect imp, even to her Groucho Marx look-alike in the final scene. William Shimell’s Don Alfonse could have been a bit more wily, even malevolent, yet he sang engagingly.

The opera began with clever projected movie credits, giving full credit to Mozart and Da Ponte while Maestro Stefan Lano and his Cincinnati Symphony musicians played the spirited overture.  

The opera opened, highly stylized and carefully choreographed.  Full of glorious music and singing, it took a while for the steam to build up enough provide a full measure of zest.  

The singing, full of arias, recitatives, duets, quartets and a couple of sextets made Mozart, and the audience, proud.  Perhaps the highlight of highlights was beautiful Alexandera Deshorties singing her great aria, or rather scene, “per pietà. The highly mutable and elegant set and lighting featured her mesmerizing the audience.  Now, I want to hear her as the Countess in The Marriage of Figaro, and again as Donna Anna.

Now, for something completely different! Next on the Cincinnati schedule is John Adams’ Nixon in China. So many of us have heard excerpts, such as “The Chairman Dances,” without experiencing the entire opera.  

Tickets are in very short supply for the July 12th and 14th performances.  Call 513- 241-2742 for tickets.  Also, go to cincinnatiopera.com for a quick video preview.  He who hesitates could be impeached!

Giving Strings 8th Annual Concert Aug. 4

Musicians sought for orchestra

Giving Strings organizers from left to right are: Colleen Judge, Clara Hofeldt, Julia Judge and Ingrid Hofeldt.

Giving Strings, a nationally recognized orchestra, will perform string orchestral music at its 8th Benefit Concert on Saturday, Aug. 4 on the 100 block of Lonsdale in Oakwood.  The all-volunteer orchestra will be composed of avid musicians, from professionals to young amateurs.  The concert will feature beautiful live music and a silent auction, featuring CD’s signed by internationally known artists, such as Itzhak Perlman and Yo Yo Ma.  The featured soloist for this year is Janet van Graas, the Dayton Philharmonic’s principal piccolo player.  She will perform Antonio Vivaldi’s Piccolo Concerto with the orchestra.

Every summer, the Giving Strings benefits a specific charity.  For the past seven years, the orchestra has raised over $28,000 for various charities.  This year, the Martha Fram Fund will be the beneficiary of the concert, conducted by Dr. Patrick Reynolds, assistant conductor to the Dayton Philharmonic Orchestra. This charity uses donated money to help support families of cystic fibrosis patients at the Children’s Medical Center.

Again, the concert admission is free, but any donations are appreciated in support of The Martha Fram Fund. Music is now available for pickup at 158 E. Dixon Ave., (the southwest corner of Dixon and Shafor Blvd.)

If you wish to participate playing in the Giving Strings Orchestra or want more information about the concert, please contact Clara or Ingrid Hofeldt at 293-5753.  All string musicians are welcome.

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July 3, 2007
Volume 16, No. 27

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A listing of visual arts, music, theatre, and other events in Dayton and beyond.