Only Mozart could combine hilarity and sheer beauty with extremes of both, and he never did it more so than in his comic opera “Cosí fan tutte.” And Opera North revealed in these qualities in its — ridiculously funny and sublimely beautiful — production that opened Thursday at Blow-Me-Down Farm Cornish, New Hampshire.
And under a tent! The opera was enjoyed by an audience on three sides of the stage where the singers — unamplified — could be seen and heard intimately and gloriously.
To a one, the voices cast boasted excellent voices and youthfully enthusiastic performances, with the full support of the fine Opera North orchestra, all conducted by Artistic Director Louis Burkot. Director Jennifer Williams set the action this somewhat cut production in Andy Warhol’s studio in the tasteless ’60s — allowing for the comedy to be colored by the ridiculous costumes and the staging, by Rebecca Ming and Nate Ertone, respectively, and dramatic lighting by John Bartenstein .
Since 1982, Opera North has been the regional professional opera company of the Upper Valley. Next up is Verdi’s “La traviata” with three performances July 27-July 31. (At the July 9 “Carnavele,” soprano Brennan Blankenship enticingly previewed her role as Violetta in “La traviata” with a brilliant performance of “Sempre libera.” )
The full title of “Cosí” tells it all: “All Women Do It, or The School for Lovers” is the most controversial, and the funniest of the Lorenzo Da Ponte librettos for Mozart. Don Alfonso bets Guglielmo and Ferrando that their lovers, the sisters Fiordiligi and Dorabella, respectively, won’t remain faithful in their absence at war. So, the men return disguised as Albanians (rock stars in this production), to begin their attempts at seduction. All hell breaks loose, with the maid Despina egging everyone on. Morality isn’t the strong point of any of these characters — passion and hilarity are.
Soprano Greer Lyle used her brilliant and pliable soprano expressively as Fiordiligi, while Cloe SanAntonio’s warm mezzo proved perfect for Dorabello. Nathan Savant’s charismatic baritone and Charles Calotta’s yearning tenor were just right for Guglielmo and Ferrando. Baritone Nicholas Skotzko gave Don Alfonso (Warhol) the appropriate gravitas — and absurdity. But the most delicious comic performance was by soprano Anna McMahon as the wily maid Despina, and she turned out to be a particularly fine singer, expressive and nuanced.
Interestingly, at Thursday’s first performance, many of the solo arias were a bit too loud in the beginning, while the ensembles — the best part of this opera — were sensitively and beautifully done, some exquisitely. However, in the second act, the solo arias were much more sensitive and nuanced. (The performers didn’t benefit from any preview performances in front of an audience as are common in theater.)
Particularly notable was Lyle’s heartbreakingly beautiful performance of “Per Pieta,” in the second act, where she combined brilliance with subtle nuance to express her misgivings about what she was contemplating. Still, the musical strength was the excellent sense of ensemble throughout—fine young singers with real sensitivity toward each other.
Opera North’s orchestras have been consistently good and this year is no exception. The orchestra’s role in Mozart’ operas is more subtle than those of many other composers, and Burkot and his players delivered here, providing the details that make Mozart so perfect. (Still, more strings would be great!)
Mozart’s “Cosí fan tutte” has been vilified as misogynistic — highly debatable — but the Opera North production solves the problem by successfully blaming Don Alfonso. The result was so funny, and with such beautiful singing of Mozart’s gorgeous music, who could be unhappy?
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