South Florida Classical Review

Così fan tutte is one of Mozart’s most complex operas, a work that is difficult to successfully bring off in performance, both musically and theatrically. 

The University of Miami’s ambitious Frost Opera Theater mounted a production on Thursday night at UM Gusman Concert Hall that fully encompassed the work’s demands as well as proving greatly entertaining.

Director Jeffrey Buchman’s staging transferred the scenario of two lovers and disguised identities to a cruise ship. The ship’s cynical captain Don Alfonso wagers the two male protagonists that their female partners will not be faithful if they change identities and romance the others’ lover. As naval officers, they are supposedly called to war and are to depart at the next port. After tearful farewells, they return disguised (with wigs and mustaches) as hipsters. Don Alfonso’s scheme is aided by Despina, the ship’s attendant who encourages the women to succumb to their supposedly new suitors. After initial resistance, they fall for the ruse. Eventually identities are revealed and forgiveness is the order of the day.

Buchman’s modern version stays true to Lorenzo Da Ponte’s libretto and the setting added to the humor. Avoiding the slapstick that many stagings indulge in, FOT’s production was genuinely funny, and the characters were given deep dimension while never dissolving into caricatures. Rosa Mercedes’ flashy choreography highlighted the cruise’s passengers doing calisthenics and having fun dancing merrily. Stephan Moravski’s stunning set featured lower and upper decks, a mini pool and state rooms that could be opened, displayed or closed. The design helped facilitate the action and placed the individual musical numbers in distinctive tableaux. Carla Cid De Diego’s multi- colored costumes lit up the stage, blending perfectly with the vibrant setting, subtly lit by Celso Peruyera.

Zaryah Gourgel gave a powerhouse performance as Magda Sorel earlier this season in the Frost Opera’s intimate version of Gian Carlo Menotti’s The Consul. She was equally impressive as Fiordiligi and totally at ease in the different vocal demands of Mozart. A born comedienne, she made the most of the heroine’s mock heartbreak and reluctant romance of her would-be suitor. Her large voice, dark lower register and agility at the top totally conquered Mozart’s difficult soprano writing. With perfect, pinpoint coloratura, her “Come scoglio” stopped the show, winning prolonged applause.

Lauren Richards previously dominated last season’s presentation of Jonathan Dove’s Flight and gave a sympathetic portrayal of the bureaucratic secretary in The Consul. The role of Dorabella revealed her comic talents and amiable stage presence. Richards’ richly hued mezzo was especially effective in Dorabella’s melodramatic solo mourning the supposed loss of her lover Ferrando, sung with beauty of timbre and sharp verbal articulation. In the score’s numerous duets, Gourgel and Richards’ voices melded to beautiful, perfectly balanced effect.

Caitlin Turner was a perky, scheming Despina with a finely placed soubrette instrument, her high notes ringing and clear. Her disguises as a quack doctor and fat-suited notary were hilarious.  

After initially husbanding the resources of his lyric tenor, Junchen Li as Ferrando cut loose with an ardent “Un aura amorosa,” spun with a fine sense of Mozartian nobility. Yuhao Sun’s voluminous baritone and comedic chops made his every appearance as Guglielmo enliven the proceedings. David Dai Han Lee brought a deep bass-baritone and command of every scene to Don Alfonso, with his patter particularly bright in the recitatives.

Gourgel, Richards and Lee’s sea trio and Richards and Sun’s second act duet were highlights of the evening, sung with special beauty and artistry. The two big ensemble finales emerged lively with the singers totally engaged, the bubbly music given emphatic lift.

In no small way, Yun Cao’s conducting contributed to much of the evening’s success. A gifted student of Gerard Schwarz, Cao kept the pace fleet and drew precise, strongly honed playing from members of the Frost Symphony Orchestra. From the taut Overture to the scintillating finale, Cao brought out the sparkle of Mozart’s invention. Jenny Snyder’s harpsichord accompaniment of the recitatives was nimble and brisk, aiding the stage action.

This Così fan tutte delivered a winning combination of inventive theatricality and fidelity to a time-honored operatic masterpiece. The large audience clearly enjoyed the production, cheering singers, conductor and production team at the curtain calls. 

The Frost Opera Theater repeats Così fan tutte 7:30 p.m. Saturday at the UM Gusman Concert Hall in Coral Gables.  music.miami.edu

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