Mozart masterpiece is updated to 'groovy' mid-century

Mozart's operatic comedy "Cosi fan tutte" has challenged directors and audiences since its first production in 1790. Should it be played as a bubbly farce or tragedy, or somewhere in between?

Because, underneath the comedy – which likely produced guffaws from Viennese audiences – lurks a disturbing, even cruel element. Subtitled "The School for Lovers," the opera's central question is one of fidelity. Can women be trusted, or are all women "like that" – the way the title, "Cosi fan tutte" is often translated?

In the lighthearted new production directed by Robin Guarino that opened Thursday night in Patricia Corbett Theater at the University of Cincinnati College-Conservatory of Music, there's a twist to the plot that places men and women more on equal footing. "Live and let live" is how, ultimately, the words sung by the character Don Alfonso are translated.

It was brilliantly sung by an excellent ensemble of CCM opera students and Mozart's witty music was buoyant and fleet in the hands of conductor Mark Gibson.

Guarino's view leaned heavily on the comic side, with bawdy translations and hilarious sight gags that drew belly laughs all night. The updated production – to the mid-20th century – worked wonderfully. It included a stunning Mid-Century Modern house (complete with hot tub) and a couple of swinging Albanian strangers looking like John Lennon and George Harrison had just wandered off the set of the "The Magical Mystery Tour."

In Lorenzo Da Ponte's libretto, the philosopher Don Alfonso bets his naïve young friends, Ferrando and Guglielmo, that their girlfriends won't resist the romantic attention of two strangers – actually the men in disguise – for 24 hours. If they give in, Alfonso wins the bet.

Here's the twist: The two sisters overhear the wager, so they know all about the deception. It's a thought-provoking angle. But the pretext doesn't quite work in the end, when the young men's ship is supposedly returning, and the women display panic. Don't they remember it's all a trick? Or are they afraid to face the truth? It wasn't clear.

The opera opened on a fantastic, all-white, multi-level house (scenic design by Ryan Howell), that swiveled on a turntable to show the rooms, lawn and pool. The scene was populated by a chic crowd attending a party at the home of the sisters, Fiordiligi and Dorabella. (The fab costumes were by Caroline Spitzer.)

Thursday's cast (as is CCM tradition, the opera is double-cast), was well-matched, and several singers are clearly rising stars to watch. There were some exquisitely sung ensembles, including the profound trio, "Gentle breezes and calm sea" ("Soave sia il vento"), sung by the two women and Alfonso as the men go off to sea.

Derrell Acon was a hip Don Alfonso, with a finely-honed bass and a suave presence, who was usually lurking around, observing the couples. Dressed Rat Pack-style and usually smoking a cigarette, he and the men sealed their wager with a stiff drink.

One of the evening's stars was soprano Ann Toomey as Fiordiligi. Her famous Act I showpiece "Come scoglio" seethed with indignation, and she navigated its bravura leaps brilliantly. Her acting grew more impressive in the second act, as her resolve melted and her emotion and pain were palpable.

Adria Caffaro made an alluring Dorabella, and her voice blended nicely in the ensembles.

Alec Carlson's singing was consistently ardent and beautifully phrased in the role of Ferrando. One of the evening's highlights was his aria about the atmosphere of love, "Un aura amorosa," touchingly sung against muted violins.

Joseph Lattanzi made a charismatic Guglielmo, whose singing was both robust and lyrical, and who wooed Dorabella with great tenderness in the hot tub. As he realized the folly of the situation and that he still loved Fiordiligi, his character grew more agitated.

As the comic maid Despina, Grace Hall possessed a crystalline voice and flawless intonation. Her scene disguised as the doctor ("Did someone call Masters and Johnson?") brought down the house. Accompanied by Alfonso in drag, she attempted to "revive" the "poisoned" men – and everyone else onstage – with her defibrillator-like instrument (yes, they were toilet plungers).

Guarino's staging was lively and fun; in an opera that sometimes sags, not a moment (or a gag) was wasted.

The surtitles – more a general gist of the libretto than translation – ranged from very funny to clichéd expressions about "chicks" and "groovy hunks." For me, they grew weary and distracted from Mozart's wondrous music.

The chorus sang wonderfully and danced the Twist and the Frug as guests of parties and the wedding that never happens. Gibson propelled tempos and led a nuanced reading of this sparkling score. In the end, Mozart and Da Ponte leave it up to the viewer as to who ends up with whom. This time, for me, it's a little different.

"Cosi fan tutte" repeats at 8 p.m. Friday and Saturday and 2 p.m. Sunday in Patricia Corbett Theater, CCM. Tickets: 513-556-4183 or ccm.uc.edu.