UTAH OPERA, Così fan tutte, Capitol Theatre, March 14; through March 22, tickets at 801-355-2787, 888-451-2787 or www.utahopera.org 

The only problem with Utah Opera’s Così fan tutte is Crystal Manich’s stage direction. Manich’s trademark manic moves and frenetic gestures make the characters look ridiculous. It’s superfluous and they don’t bring anything to character development or to the storyline. It’s just plain silliness. Manich has yet to learn that less is always better.

With a better director this would be a near perfect production.

The young cast, three of whom are either former or current Utah Opera resident artists, does a marvelous job. They are all fine singers as well as actors and invest themselves in the roles.

Aaron Blake’s high tenor is well suited for Ferrando. He brings a lightness and fluidity to his singing that is ideal for Mozart. And he blends well in duets and ensembles with the other characters.

Baritone David Adam Moore also possesses a high voice that meshes well with Blake’s. Moore was also a delight to watch as Guglielmo. He brought a lot to his characterization.

The third male singer in the cast, baritone Matthew Burns as Don Alfonso, was the perfect foil to Ferrrando and Guglielmo. His rich voice lent gravity to his part while maintaining the levity of the plot.

The two sisters, Fiordiligi and Dorabella, were well cast. Soprano Karin Wolverton (Fiordiligi) and mezzo-soprano Leah Wool (Dorabella) were delightful. It was a pleasure watching Fiordiligi waver before finally giving in to the attentions of Ferrando, and Dorabella throwing caution to the wind and giving herself to Guglielmo. Both sang their parts with conviction and they sounded fabulous together in duet.

As the sisters’ maid Despina, mezzo-soprano Abigail Levis showed a flair for comedy as she lectured the sisters on men and how to act when around them. She has a strong voice that is infused with finely modulated lyricism.

The story was set in the 1920s, which worked quite well for the storyline. Susan Memmott-Allred’s costume designs were spot on and captured the flavor of the period. The only negative thing were the yellow eyeglasses that Despina wore. They were garish and a distraction.

Conductor Will Crutchfield led the members of the Utah Symphony in the pit with precision, and the playing was well articulated and executed.