[ ON STAGE ]
Mozart’s moving melodies
enliven light and frothy
18th-century sitcom
Friday's opening performance of the Hawaii Opera Theatre production of Mozart's "Cosi Fan Tutte" offered an entertaining combination of comedic situations and profoundly beautiful music.
Mozart and librettist Da Ponte took a similar view of comedy to that of Norman Lear. Like the creator of "All in the Family" and other television sitcoms, they believed that opera buffa (the 18th-century counterpart of the sitcom) could be used for social commentary as well as cheap laughs. This challenging work provides plenty of laughs but also a pointed critique of contemporary society -- specifically the double standard that acknowledged male infidelity while pretending that the same behavior from women was impossible.
'Cosi Fan Tutte': Hawaii Opera Theatre's production concludes at 7:30 p.m. tomorrow at Blaisdell Concert Hall. Tickets are $29 to $100. Call 596-7858.
The story revolves around two pairs of naive young lovers, Fiordiligi/Guglielmo and Ferrando/Dorabella. The worldly Don Alfonso, with the help of the maid Despina, sets out to disabuse them of their innocence, and the result is an evening of mistaken identities, comical situations and bruised egos. The title of the opera -- which does not translate literally into English -- sums it up: "They (women) all do it."
While some directors emphasize the darker aspects of the plot, Richard Harrell kept the HOT production light and frothy. The young lovers reconcile easily with barely a hint of acrimony, and only the final tableau shows the uncertainty of their changed relationships. He has introduced numerous effective comic bits, for instance the unison pulling of corks in the Act 1 poison scene.
Peter Dean Beck's scenery, designed for the Atlanta Opera, was strictly traditional, with attractive terrace scenes and effective use of painted backdrops. Most notable was the boat that smoothly carried the young men on- and offstage. The lighting was effective except where changes were made in the middle of arias to reflect the singers' shifting moods; this struck me as too fussy and even a bit corny.
The real attraction of this work is the music. Mozart lavished some of his most moving melodies on this plot, leading many commentators to state that the score is too good for the trivial story. His sensitivity to human nature, though, allowed him to use music to support and amplify the story, forcing the audience to empathize with these flighty young people rather than scoff. Two examples suffice: The intensely moving trio "Soave sia il vento" ("May the breezes blow lightly"), sung by Don Alfonso and the two sisters, is an ideal characterization of their wistful mood on seeing their beaux leave for battle, while the wedding quartet "Bevi e tocca!" ("Drink and toast!") encapsulates the contrasting feelings of the four lovers to the outcome of the drama.
Vocally, the work is an ensemble piece rather than a star vehicle, and the voices of the six cast members, while not stunning, were exceptionally well matched.
The role of Fiordiligi is the most challenging vocally, as it requires an extremely wide range and dramatic flair. Soprano Yali-Marie Williams sang the role with strong dramatic presence and beautiful tone, especially in the second-act aria "Per pieta, ben mio, perdona" ("Have pity, my beloved, pardon"). She did not have quite enough power to compete with the orchestra, though, especially in her lower and middle registers.
Ning Liang's unusual dusky mezzo was ideally suited to Dorabella, and her arias were some of the loveliest of the evening.
Tenor George Dyer brought both power and sensitivity to the role of Ferrando. His lyrical first-act aria "Un'aura amorosa" ("A loving breath") was beautifully sung, spoiled only by audience applause during the orchestral postlude.
Baritone Christopheren Nomura showed impressive flexibility in vocal "fioritura" as well as excellent comic timing in recitatives. He and Dyer worked well together throughout.
Suzanna Guzmán played Despina with spirit, providing many humorous moments. Her impersonations of the doctor in the first act and the notary in the second were especially funny.
Don Alfonso is the wily puppeteer whose conniving drives the plot. Baritone Steven Condy sang the role well and acted effectively. He switched effortlessly from ingratiating to ironic to sarcastic, proving that his character was the only one who fully understood the ramifications of the others' actions.
In everything from duets to sextets, the singers matched their different vocal timbres admirably. Especially enjoyable were passages in which the two sisters sang in close harmony, as Williams and Liang demonstrated musical sensitivity and voices that complemented each other well. The pairing of Liang and baritone Nomura was successful for similar reasons.
Anthony Walker conducted the orchestra with precision and élan. His tempos were often on the fast side, which kept the music lively but left the singers breathless, most notably in the opening men's ensemble, Fiordiligi's first-act aria and the finale of the first act. It took a while to get used to hearing the continuo part on piano rather than harpsichord, but Mary Dibbern played in an ornate style that supported and complemented the singers.
All in all, the production was enjoyable to watch and hear, and it provided an ideal contrast to the intensity of the season's first opera.
E. Douglas Bomberger is a professor of music at the University of Hawaii at Manoa.
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