February 2006

Mozart's Cosi Fan Tutte

Brilliant arias and ensembles make this Mozart comedy a favorite.

Challenged by the worldly Don Alfonso to test the faithfulness of their fiancées, Ferrando and Guglielmo pretend to go off to war but return disguised as foreign suitors. The women (Fiordiligi and her sister Dorabella), egged on by their maid Despina, not only fail the test, but each decides to marry the other's real beau. The test is revealed, the women are forgiven, and all live happily ever after. Or do they?

Cast:
Lisa Archibeque*, soprano, Fiordiligi
Elaine Dalbo*, mezzo soprano, Dorabella
John Dooley*, baritone, Guglielmo
Lewis Freeman, baritone, Don Alfonso
Ole Hass, tenor, Ferrando
Kelly Smith, soprano, Despina

*OTNV debut

John Edward Niles, Artistic Director
Joe Banno, Director

The following review appeared in the Washington Post on March 8, 2006.

Fiddling with 'Cosi' for Better and Worse

It is easy to play Mozart's "Cosi Fan Tutte" as merely fun, flirtation and froth. And it is tempting to tinker with the libretto, especially the ending. Opera Theatre of Northern Virginia is as susceptible to these temptations as the work's heroines are to the importunities of their disguised lovers -- and yet, just like Fiordiligi (Lisa Archibeque) and Dorabella (Elaine Dalbo), the company comes out rather well.

Joe Banno's abridged production, at the Thomas Jefferson Community Theatre in Arlington on Sunday afternoon, used modern dress and settings. This created funny moments (Fiordiligi and Dorabella shared photos via computer and, later, made a cell phone call for help) and awkward ones (partial undressing and mild bondage). The worst idea -- pure tasteless jingoism -- was having Ferrando (Ole Hass) and Guglielmo (John Dooley) depart as U.S. soldiers, then return disguised as Arabs, cringingly terrified when Fiordiligi wielded a crucifix and Bible.

The glorious music sounded fine even from an 11-member ensemble, which Artistic Director John Edward Niles conducted spiritedly. In fact, "spirited" described the whole production: All six singers acted enthusiastically, with Lewis Freeman (Don Alfonso) and Kelly Smith (Despina, a barmaid -- updated from chambermaid) knitting the plot neatly together.

About that plot: Mozart and librettist Lorenzo da Ponte focused on human frailty and ultimate forgiveness, with the women finally returning to the men they betrayed. Banno and Niles preferred to have them switch partners at the end. That arguably makes musical sense by pairing the soprano and tenor. But it's a sitcom solution, not Mozart's.

-- Mark J. Estren