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L.A. Opera’s silly ‘Così fan Tutte’ saved by the singing

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remarkably unlikely and surprisingly skeptical, Mozart’s “Così fan Tutte” presents characters who are deceptively intelligent but often foolish and controlling. Despite this, it showcases a profound level of thought and emotion that sets it apart as one of the first operas of the modern era, brimming with Mozartian elegance and beauty.

Edward Said noted that the opera erases ties to past memories and allegiances, leaving only the immediate present. Meanwhile, James Conlon, who directed the LA Opera production debuting at the Dorothy Chandler Pavilion on Saturday, suggests in the LA Opera podcast that “Così” isn’t a spiritual work by Mozart but one that remains strikingly relevant due to its materialist themes.

Michael Cavanagh’s posthumous production, provided by San Francisco Opera, can be described as extravagant, with a backdrop set at an elegant East Coast country club in the late 1930s. The staging is not contemporary nor does it fully capture the essence or spirit of that specific era.

Los Angeles has a rich history with “Così”, boasting two powerful productions starting from Nicholas Hytner’s in 1988, which was a significant milestone for the company’s third season. More recently, Gustavo Dudamel and the Los Angeles Philharmonic staged an incredibly intricate production within Walt Disney Concert Hall in 2014. As far as materialism goes, nothing quite compares to the 1990 production by Cal State Long Beach, which was presented in the Queen’s Salon of the Queen Mary.

As a movie critic, I found myself deeply moved by Mozart and Lorenzo Da Ponte’s masterpiece, “Così fan tutte,” which skillfully probes the shallow veneers of our society and exposes our hidden vulnerabilities. In this tale, two sets of siblings, seemingly pious and virtuous, are paired with a pair of arrogant brothers. The budding romances between these couples are put to the test by the cunning Don Alfonso, who deceives the brothers into believing they’ve been conscripted, only to return later in disguise to court each other’s fiancées. In the end, Don Alfonso emerges victorious, as we are led to believe that all women, like the title suggests, are prone to infidelity.

However, Don Alfonso’s experiment serves as a stark reminder to an 18th-century society, particularly misogynistic in nature and the intended audience for the opera, that we are all susceptible to deception and manipulation like them. The relevance of “Così” in today’s context lies in its ability to highlight how swiftly and drastically societal norms can shift, even in an instant. We may believe ourselves to be more progressive than the Age of Enlightenment, but let us not forget that trust remains elusive; whether it is a person or an institution, we must question their intentions.

The key to presenting “Così” successfully lies in revealing the profound essence hidden within the superficial lovers, beyond their apparent innocence and masks. Mozart’s music serves as our guide, helping us explore emotions deeply and confront the true nature of humanity. This isn’t about imparting wisdom but acknowledging human nature, which might lead to a spiritual elevation above materialism. The daring aspect is that neither composer nor playwright provide conclusive evidence that this method actually works. Is there a switch in partners among the lovers? Do they possess the qualities needed for an enduring relationship?

In a departure from the intended serious tone, Shawna Lucey’s San Francisco-originated production for L.A. Opera, post Cavanagh’s passing last year, adopts an overly comedic approach. The characters, dressed in extravagant country club attire, appear more like cartoonish figures than complex entities embodying a “troubling exploration of power and agency” as suggested by the production notes. Instead, this portrayal seems reminiscent of a 1920s-era silent movie, featuring characters engaged in humorous antics with overly dramatic reactions that were more characteristic of that era.

In this context, the seemingly unintelligent individuals are surprisingly talented vocalists. Conlon brings elegance and undeniably a profound spiritual essence to the orchestra. The unfortunate lovers initially show interest only after 2 1/2 hours into a 3 1/2-hour performance, displaying increased focus, although not necessarily shedding their shallow tendencies.

Upon the commencement of the opera following the overture, I found myself slightly thrown off musically by both Fiordiligi and Dorabella. However, once they found their footing, they truly shone. Mozart meticulously differentiates between these two characters who harmoniously echo each other, but it is soprano Erica Petrocelli who brings a fiery intensity to Fiordiligi’s role, while Rihab Chaieb, a mezzo-soprano, infuses Dorabella with a touch of mischief that feels inviting. As the performance progresses, they both become as authentic as their costumes and direction allow.

After tenor Anthony León’s spirited Ferrando and baritone Justin Austin’s jovial Guglielmo have pumped up the stage with their adrenaline, both of them proving slower than their fiancées in understanding the trick, they too eventually reach a turning point. In this situation, it is the men who are put to the test, but ultimately prove less reliable.

Don Alfonso and Despina are experienced actors in the play “Così”. Rod Gilfry, who was lively Guglielmo in our production over 30 years ago and a suave devilish Don Alfonso in the L.A. Phil production, is now portraying a suspicious hotel manager lacking direction. Ana Maria Martínez, who captivated as a sensual Fiordiligi at the 2006 Salzburg Festival, manages to retain some of her allure despite Despina’s overbearing actions.

The Los Angeles Opera’s production of “Così” is in honor of cherished board member Alice Coulombe, who is connected to Trader Joe’s through her spouse. Additionally, it could be a tribute to Robert Fitzpatrick as well.

In September, the late Fitzpatrick sparked the idea for Coulombe and her colleagues to establish Music Center Opera, now known as L.A. Opera. As the overseer of the 1984 Olympic Arts Festival, Fitzpatrick frequently drove around Los Angeles in his BMW with “Così” playing continuously, expressing that if he met an accident while listening to it, that would be the final tune he wanted to hear. With “Così” playing in the background and using a portable phone that was still novel at the time, Fitzpatrick made arrangements to bring London’s Royal Opera to the Dorothy Chandler Pavilion, which eventually led to the formation of a local company.

Indelibly etched into the fabric of Los Angeles Opera is ‘Così’. Though hidden subtly within this less-than-perfect staging, its influence shines through beautifully. Even in the face of erased memories, our ears remain the most resilient organ.

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2025-03-12 21:01

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