|
| You can hardly hear the overture in Phelim McDermott's production, apparently set in a kind of Coney Island, at the Met (or in the case of this photo, the English National Opera, which premiered the production in 2014, four years before I got to see it the first time in New York, as all the carnival sideshow acts jump out of the clown box at center stage, with their signs, and then run back and forth rearranging them into various gag messages—the audience can't stop laughing. Even the inveterate snobs, because it's that witty and imaginative and colorful. But I really don't know if it's the right thing to do. It's a terrific "Verfremdungseffekt", but is the music really what we need to be alienated from? It's only about four minutes long, it's effervescent and structurally perfect, and I was planning to listen to it. Photo by Lloyd Winters. |
Così Fan Tutte (too Italian for a straightforward translation--you might try something like "All the Girls Do It", but the rhythm is wrong, so you couldn't sing it), the last of Mozart's three collaborations with Emperor Joseph II's poeta cesareo Lorenzo da Ponte, is an extremely problematic opera. The plotting is unbelievably silly and yet at the same extraordinarily funny, and extraordinarily sexy too, but also deeply immoral from different points of view, both the patriarchal and the feminist. And the music is really sublime beyond anything, even at its sexiest, but always getting wickedly subverted by the characters themselves, as in this heartbreakingly beautiful farewell moment early in the first act, where the pairs of lovers are to be separated (the girls believing that the boys are being sent off to war) while their manipulative mentor mocks them in the background, "Io crepo se non rido" (from a more conventional production, at Glyndebourne, 2006):
The story is set on the Bay of Naples, where Fiordiligi (soprano) and Dorabella (mezzo-soprano), two wealthy young sisters from Ferrara (I think that was an in-crowd reference to the soprano who created the role of Fiordiligi, Adriana Ferrarese del Bene, Da Ponte's mistress), are living for unexplained reasons on their own, without other family, under the care of one of those cunning Italian-comedy servants, the maid Despina (from ancient Greek despoina, the feminine equivalent of despotes, ironically meaning "Lady of the Household", another soprano). They also have boyfriends or fiancés, respectively Guglielmo (baritone) and Ferrando (tenor), young army officers with an older friend, the cynical philosophe Don Alfonso (bass), who is irritated by the boys' confidence in their sweethearts' fidelity ("women's faith is like the Arabian phoenix; everybody says it exists, but nobody knows where it it"), and offers them a wager: 50 zecchini says he can get the girls to betray them in 24 hours, if they follow his orders, to which they cheerfully agree.




.jpeg)