“Così fan tutte (Thus Do All Women)” does not exactly paint women in a good light.
Indeed, the comedic opera, created in 1789 by Wolfgang Amadeus Mozart and his famed librettist, Lorenzo da Ponte, is based on an elaborate ruse to prove a central character’s thesis that all women are unfaithful.
Such a gambit could easily prove to be a turnoff, especially to contemporary audiences. But the work is conceived so cleverly and in such good fun, that it’s hard to imagine even the most hard-core feminist being offended by this bit of merriment.
Opera Colorado has revived a production of the work created in 2003 for the Santa Fe Opera by nationally known stage director James Robinson, Opera Colorado’s former artistic director.
Santa Fe presented this version again in 2007, so it’s inevitable that some Colorado opera fans who regularly attend the New Mexico company’s summer productions have already seen it.
Count me among them. Because I review all of Santa Fe’s offerings, Friday evening was the third time I had seen this production in just six years. And, to be honest, I’m a little tired of it at this point.
That said, it’s hard, even the third time around, not to appreciate Robinson’s knack for comedy, especially his flair for visual gags and slapstick. He cleverly juices up the roles of Don Alfonso, who orchestrates the story’s elaborate subterfuge, and his accomplice, Despina, the maid.
It helps enormously that the veteran singers who perform these parts — bass-baritone Dale Travis and mezzo-soprano Susanne Mentzer — are natural comedians who were featured in the same roles in Santa Fe’s 2007 production.
At the same time, Robinson tries to heighten the story’s comic absurdity by emphasizing the opera’s story within in a story — placing the action on a kind of set within a set (designed by Allen Moyer) — and moving the action to a fanciful version of the 1950s.
But as a I wrote when I first saw this production in 2003, Robinson is sometimes a little too clever for his own good, pushing things too far, especially his too-literal interpretation of the opera’s alternative title, “The School for Lovers.”
Whatever one’s reactions to Robinson’s highly specific staging, it’s hard to fault Opera Colorado’s casting. “Così” is a quintessential ensemble work that requires strong singers in all six well-showcased roles, and that’s exactly what there are.
Even though they have what are essentially supporting roles, Travis and Mentzer nearly steal the show. Especially effective is Travis, a total natural who could hardly be better suited to this role vocally or dramatically.
The other four wonderfully matched singers know a thing or two about comedy, as well, and they gamely throw themselves into this production’s madcap doings and shine vocally.
A clear standout as Fiordiligi is Nicolle Foland, a soprano who also impressed in Central City Opera’s 2006 production of “The Coronation of Poppea.” She tackles the role’s famous coloratura demands with commendable naturalness and ease.
Also strong is Jacques Imbrailo as Guglielmo. He possesses a handsome lyric baritone voice with abundant pliancy and warmth. It would be exciting to hear what he could do with other roles.
The pit orchestra, especially the woodwinds, sounded thin at times Friday evening, especially during the overture. Carlo Montanaro’s conducting was solid overall, but there were moments that seemed to drag.
Kyle MacMillan: 303-954-1675 or kmacmillan@denverpost.com
“Cosi fan tutte (Thus Do All Women)”
Opera. Ellie Caulkins Opera House, Denver Performing Arts Complex, 14th and Curtis streets. Opera Colorado presents Mozart’s comedic look at romance and infidelity. 7:30 p.m. today and Friday and 2 p.m. Sunday. 3 hours, 15 minutes. $29-$157. 303-357-2787, 800-982-2787 or
