I went into LA Opera’s current offering, Michael Cavanagh’s staging of Mozart’s Così fan tutte without any preconceived notions of the libretto, and the program prepared me for the worst. Notes discussing the opera’s “troubling study in power and agency” or warning that “those who are troubled by the story (…) are in good company” seem to foretell of an uncomfortable evening. What dated gender norms and misogynist humor was I about to be subjected to under the thin excuse of a ‘gorgeous score’? Whether thanks to Cavanagh’s approach or director Shawna Lucey’s reinventions (Cavanagh unfortunately passed away at the age of 62 last March), the opera never seems to warrant excuse or apology.
The characters in this 1790 opera with a libretto by Lorenzo Da Ponte are zany, and their uniform stupidity is highlighted by this production’s broad sense of comedy. As Guglielmo and Ferrando, Justin Austin and Anthony León never miss a chance for silliness, strutting about the stage with ridiculous levels of machismo to match their preposterous mustache disguises. With their height differences, they seem like a comedic duo out of a period piece, perfectly placed in the cartoonish country club in which the action unfolds. As their respective love interests, Erica Petrocelli and Rihab Chaieb are afforded endlessly more humanity than the buffoonish men, which perhaps erases some of the anti-feminist condemnations to which the program notes allude. It is especially when the two women take the stage that Mozart’s score can soar to its fullest heights of dramatic richness. Despite the silly antics, the four lovers deliver deeply human performances.
Rounding out the cast, Rod Gilfry’s Don Alfonso is as mischievous as he is commanding. Somehow, he seems just the singer to complete the trio “Soave sia il vento”— which, performed in stillness with a transfixing projection of water overlaid on the stage serves as a highlight of the evening— and then the right man to spy on the lovesick couples from behind a potted plant. Audiences on opening night made clear their love for Ana María Martínez’ Despina, who has a rollicking good time joining in Don Alfonso’s tricks.
With a mostly white set, lighting designer Jane Cox has elevated the entire piece, painting in warm gemstone hues in ways that always feel entirely organic. The story the lights and score tell could be one inherently more engaged with the darker elements of the opera, but never seem to trivialize the comedy this team seems to be after. Overall, clarity of the story seems to be key and that clarity is achieved and appreciated by the audience. Cosí fan tutte is a superbly-realized production with a cast LA Opera fans will recognize from an extensive list of recent credits. Despite its three and a half hour runtime, the evening seems to fly by thanks to its heightened energy and sense of playfulness.
Reader Reviews
