Two young men go undercover to test the fidelity of their ladies. What could possibly go wrong? Mozart's delightfully comic battle of the sexes returns to the LA Opera stage for the first time in 15 years.
Filled with ravishingly beautiful music and sparkling wit, Così fan tutte features a funny, clever plot that was bracingly politically incorrect, even in Mozart's day. In classic LA Opera style, James Conlon conducts a brilliant sextet of superlative young performers from around the world.
NOTES
Production New to Los Angeles
Production from Glyndebourne Festival Opera
Approximately three hours and forty-five minutes, including one intermission.
Evening performances: 7:30- 11:15 p.m. (approximately)
Matinee performances: 2:00- 5:45 p.m. (approximately)
Three men are discussing the fidelity of women. Don Alfonso, a cynic, asserts that all women are faithless. His young friends Ferrando and Guglielmo disagree, for they are in love with two very trustworthy sisters, Dorabella and Fiordiligi. Don Alfonso proposes a wager that he says will prove his point by the end of the day. Ferrando and Guglielmo are to pretend they have received military orders to leave Naples and then return in disguise, each paying court to the other's sweetheart.
Fiordiligi and Dorabella sing the praises of their lovers, whom they await. But Don Alfonso is the first to arrive, and with bad news: The men have been summoned by their regiment for active duty and must leave at once. Ferrando and Guglielmo enter in military uniform and an exaggerated and tearful farewell ensues. A chorus is heard singing of the glory of the military life; the men tarry long enough to promise to write twice a day, and then take their leave. The women exit to mourn their departure, and Don Alfonso reminds himself he must be off to a pre-arranged spot and return with the men in disguise.
The maid Despina is preparing breakfast for the sisters when they enter, discussing their loss. Despina calmly advises them to divert themselves in their lovers' absences, but they reject her advice with protestations of horror. Don Alfonso, hearing this and realizing that Despina would make a good ally for his plot, takes her aside and persuades her to play along with him. He ushers in Guglielmo and Ferrando, unrecognizably disguised as Albanians. The sisters are shocked to find two strangers in the house and even more shocked when the two men begin to pay court to them. Even though Don Alfonso claims them as old friends and pleads their cause, Fiordiligi staunchly proclaims her fidelity to her absent lover.
As the sisters lament their lovers' absences, the two Albanians melodramatically swallow what appears to be arsenic. Despina and Don Alfonso hurry off in search of a doctor, leaving the sisters to watch over the supposed patients. Don Alfonso returns with a doctor (a disguised Despina) who, announcing that he is a follower of Dr. Mesmer, pretends to extract the poison from the two suicides. The young men recover quickly and just as quickly renew their wooing of the two sisters.
Act II
The sisters listen as Despina advises them to enjoy a little innocent flirtation. After a while, they agree that there would be no harm in it. Dorabella, the betrothed of Ferrando, decides to pursue the disguised Guglielmo, and Fiordiligi, the betrothed of Guglielmo, chooses Ferrando.
The Albanian visitors have arranged a serenade for the sisters. While Ferrando takes Fiordiligi for a stroll, the disguised Guglielmo courts his fianc?e's sister. To his astonishment, Dorabella yields to his pursuit and exchanges a locket with him. They go out together as Ferrando returns with Fiordiligi, who has remained outwardly steadfast. But as soon as she is alone, she guiltily admits a growing passion for him. When the two sisters have left, the young men exchange news of their progress. Ferrando is overcome with grief when Guglielmo shows him his faithless Dorabella's locket. Spurred by his own jealousy, Guglielmo's smug confidence that Fiordiligi will remain faithful, and Don Alfonso's pointed needling, Ferrando resolves to try once more to defeat Fiordiligi's virtue.
Don Alfonso and Guglielmo conceal themselves within hearing as Ferrando makes another attack on Fiordiligi's constancy. Much to Guglielmo's chagrin, she too finally yields. Don Alfonso has won the wager. He tried to console the two chastened young men with the moral that all women are like that: Così fan tutte.
The celebration of the sisters' betrothals to the Albanians is in full swing, when a drum roll is heard in the distance announcing the supposed return of Ferrando and Guglielmo. In simulated panic, the Albanians and the notary (Despina in another disguise) rush out. A moment later Ferrando and Guglielmo appear in their officers' uniforms. They appear puzzled by their reception until they discover the marriage contract and the notary. With swords drawn, they rush out in pretend pursuit of their rivals, only to return immediately carrying their Albanian disguises in their hands. That brings the deception to an end. Nothing remains for the lovers but to follow Don Alfonso's advice to forgive and forget.
With James Conlon
Mozart
