Così Fan Tutte

Opera (1790)
Music by W.A. Mozart
Libretto by Lorenzo da Ponte

With Matthew Polenzani (Ferrando), Rodion Pagossov (Guglielmo), Maurizio Muraro (Don Alfonso), Susanna Phillips (Fiordiligi), Isabel Leonard (Dorabella), Danielle de Niese (Despina)

Will the two Neopolitan sisters, Dorabella (Isabel Leonard) and Fiordiligi (Susanna Phillips), be faithful to their betrothed, two soldiers, Ferrando (Matthew Polenzani) and Guglielmo (Rodion Pagossov)? Don Alfonso (Maurizio Muraro), the older, skeptical friend of Ferrando and Guglielmo thinks not and poses a bet. He is to set up a scheme that tests their fidelity and the two men must agree to go along with the ruse by which the two appear to get sent away to battle, then quickly replace them as suitors in Albanian guise to the opposite women. He enlists Despina (Danielle de Niese), maid of the two sisters, to participate in the plot as each of the two men sets about to seduce the other’s lover.

What a great story it is, and were it not seemingly so sexist it would be even greater. To call into question the dominance of that apparent sexism, one might well argue that the plot could easily be reversed to demonstrate the equivalent fickleness of men. One could further contend that the prime lesson of the libretto is not that just women are inconstant, but that people in general are, and that greater happiness comes by accepting that. Indeed, the finale of the opera, concisely expressing a tenet of Mozart’s Masonic humanism, declares that openly, making human, rather than just female, emotional vulnerability, the central theme.

Some years back I heard Isabel Leonard sing Mozart at the Met and was immediately taken with her. This performance of Così only reaffirmed that enthusiasm. Her voice has gained an even richer timbre over the years and her acting and stage presence are engaging and appealing. As far as I was concerned, her Dorabella was the anchor of this performance.

Rodion Pagossov as Guglielmo, Fiordiligi’s suitor (until, in costume, he switches to be Dorabella’s), was in full voice and was also energetic and compelling in his role.

Matthew Polenzani (Ferrando) and Susanna Phillips (Fiordiligi) did fine in their more earnestly conflicted roles, delivering heartfelt and rich arias, and Maurizio Muraro was a highly believable Don Alfonso, with a profoundly rich and skeptical voice to match.

Denielle de Niese as Despina was a real live-wire, full of acting antics completely suited to the role and a lovely voice to go along. She was a lot of fun to watch and delightful to listen to.

James Levine was back in the saddle again demonstrating yet again his wonderful musicianship, in this quite surprising and amazing continuation of his return to the Met’s podium.

– BADMan