Jordana Goddard (Fiordiligi), Kcenia Koutorjevski (Dorabella), Teresa Tucci (Despina), George Theodorakopoulos (Guglielmo), Cameron Mazzei (Ferrando), Dante Mullin-Santone (Don Alfonso) / College of Toronto Symphony Orchestra and Refrain, Sandra Horst, conductor / Harbourfront Centre Theatre, March 13, 2025; (repeated March 14 & 15).
Are you getting sick of the winter? Are you depressed by the each day information, particularly the stuff from south of the border? I extremely suggest a surefire tonic — an irrepressible model of the Mozart gem, Cosi fan tutte, as lately staged by the College of Toronto Opera Division.
I attended opening night time on the Harbourfront Centre Theatre, an intimate, 350-seat venue. The present is there as a result of prolonged closure of the MacMillan Theatre. I’m informed that tickets to the entire run are all gone.
Of the three Da Ponte operas by Mozart, Cosi is essentially the most problematic to twenty first Century audiences. The concept Fiordiligi and Dorabella can not acknowledge their boyfriends in disguise — properly, it really stretches the creativeness.
Due to U of T Music’s Affiliate Professor Emeritus Michael Albano, the plot has been reimagined. In this system notes, Albano writes: “After a lot contemplation, I might discover just one resolution — insert a brand new scene by which we be taught that the sisters are cognizant of the deception.” Albano did it brilliantly and with out including any authentic music to the beloved rating.
This little but monumental change has made the opera way more suited to twenty first Century viewers sensibilities. It demonstrates {that a} little bit of tinkering, when completed sensitively, could make a world of distinction.
The Manufacturing
The attention-catching set design by Scott Penner labored fantastically, utilizing the small house successfully. Equally pleasing to the attention was the interval costume by Andrew Nasturzio.
Kudos to director Anna Theodosakis for her laughs-inducing stage course, with a wealth of detailed and nuanced touches, expertly choreographed and in sync with the music. There was an enormous quantity of bodily comedy – I don’t consider I’ve ever seen so many falls in a Mozart opera efficiency! The youthful and bodily agile solid was completely recreation, and it made for a really full of life present.
The voices I heard final night had been in varied phases of improvement, some practically prepared for primetime whereas others nonetheless needing additional coaching. That mentioned, everybody had the requisite vitality, enthusiasm and the drive to speak with the viewers and present what they’ll do.
They had been rewarded with very enthusiastic ovations from the viewers on the finish.
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Joseph So is Professor Emeritus at Trent College and Affiliate Editor of Opera Canada.He’s additionally a long-time contributor to La Scena Musicale and Opera (London, UK). His curiosity in music journalism focuses on voice, opera in addition to symphonic and piano repertoires. He seems repeatedly as a panel member of the Massive COC Podcast.He has co-edited a guide, Opera in a Multicultural World: Coloniality, Tradition, Efficiency, printed by Routledge (Taylor & Francis Group).
