It is a sly method to take care of Mozart’s massively fashionable little treasure, which owes its endurance to the beautiful emotional texture of the composer’s music and his long-standing relationship with the phrase “problematic” in Lorenzo da Ponte’s textual content.
A lot of the interior logic of opera (if we will name it that) rests on a basis that has been culturally floor into powder; The remaining is determined by the suspension of disbelief that quantities to the alternative of gravity itself: how do Fiordiligi and Dorabella not acknowledge the untrue suitors? How do their feelings fluctuate so dramatically over the course of a day? How do they not know that the mysterious notary is Despina? What’s incorrect with these folks?
Rigazzi flips this fixer-upper right into a glossy, uncomplicated replace that retains the opera guts largely in place whereas making some main tweaks to the finishes. There are smartphones, selfies, graphic tees and Panic mania Dye jobs, grownup video games, coke bumps, implied f-bombs, and a pair of upside-down birds (by extension!). He places new scene titles on the stage – “The Guess,” “The Assist,” and “The Makeover,” for instance — giving the motion greater than only a soup of sitcom.
However essentially the most modern facet of Rigazzi’s path is the way in which he gently raises the opera’s self-consciousness — the characters are fed up with their ridiculous plight, and the story struggles towards the tide of its personal cultural asynchrony. This manufacturing is blessed with a number of naturally humorous singers, nevertheless it’s Regazzi’s wry path that stands out on this music, “Così,” from Gyokuso drama (i.e. “joking drama”) to pure comedy.
Soprano Renee Richardson delivered to Fiordiligi large power and agility. The music “Come Scoglio” within the first act was an early tease. And mezzo-soprano Irene Wagner created a pleasant Dorabella, She delivers luxurious runs in her Act I duet with Fiordiligi that appeared like a knife battle (“Ah! Guarda sorella”) and brings an exquisite lightness to her Act II aria (“E amore un ladroncello”).
I additionally preferred the cheerful duet from the second act (“Prenderò quel brunettino”), however largely loved how enjoyable they had been. Their pairing chemistry was thriving all through the evening (a giant plus for a cleaning soap opera), whether or not they had been lamenting their destiny in blankets and slippers or teetering on the sting of a nervous breakdown at a marriage with all of the majesty of a actuality present.
My favourite efficiency of the evening was mezzo-soprano Emily Triggle because the meddling maid Despina, introduced right here as each endearingly annoying and mysteriously gothic. Her fantastic and vigorous “In uomini, insolati” appeared emblematic of the lovable environment of the entire collection, in addition to her fantastic voice, which the comedic enchantment of the position by no means succeeded in diminishing. (Nonetheless, she fully throws off her correct model when she disguises herself as a notary, to fairly hilarious impact.) An exquisite singer (she’s the 2021 Metropolitan Opera Grand Finalist). Lafont competition) and an exquisite actress, Treigle is a vital a part of the success of this manufacturing.
I want males had been extra enjoyable, even when they weren’t imagined to be. The trio of Guglielmo (baritone Kyle White), Ferrando (tenor lunga Eric Hallam) and Don Alfonso (bass W.M. Klay Thompson) weren’t foolish sufficient at first and left little of the comedian ice unbroken. (The addition of mustaches, wigs, and leisure fits helped lighten issues up a bit when suitors resort to disguises.)
Hallam’s tenor had a stunning sparkle and flutter, and his amber coloration was a stunning complement to the rounder, extra rustic white baritone. Ultimately, Thompson’s wood Alfonso grew in my thoughts, however the position was not as effectively tailor-made to him as his position singing Mephistopheles within the firm’s 2023 manufacturing of Gounod’s “FaustAlfonso is considerably of an even bigger bag of filth, and Thompson’s voice sounded very dry (learn: unglued) and dripping with the requisite toxicity.
Christine Manufacturers performed the Wolf Lure Opera Orchestra with focus and depth, discovering specific readability when it mattered during times of complicated ensemble singing. (A tribute to the sonic embrace of the barn itself that made such pristine steadiness potential in any respect.) Musically, it was an evening characterised by fantastic interweavings of woodwinds, clear statements of strings, and powerful stage-side continuity supplied by Laurie Barnett. on cello and William Woodard on fortepiano.
Further undesirable percussion was supplied by the viewers, who dropped not less than 5 telephones on the ground at irregularly irregular intervals all through the efficiency. It is best to see the look I am providing you with now.
With out a lot revision or interference, Rigazzi’s revised “Così” performs neatly by leaning into the goofy — its goofy picture representing a double-gender publicity we have all gotten incorrect however bought the whole lot proper.
“Così fan tutte” from the opera Wolf Lure It runs till June 29 at Barns at Wolf Lure. wolftrap.org.
