‘COSÌ FAN TUTTE’ AT THE CAPITOL THEATRE MARCH 14-22

Così fan tutte was Mozart’s problem child in the opinion of others. Beethoven thought the story immoral; Wagner hated the music; and nobody knew what to do with it. In the decades after it premiered in 1790, it was refitted with a reworked libretto and even replaced with a new one. It wasn’t until well into the 20th century that Così fan tutte found its place in the repertoire of opera houses in Europe and the United States. Today it’s finally been appreciated for what it is — a masterpiece and an equal to the other two operas Mozart wrote to Lorenzo da Ponte’s libretti, Le nozze di Figaro and Don Giovanni.

Così fan tutte is Utah Opera’s next offering. It opens in the Capitol Theatre March 14

for a five-performance run.

The production features a young cast, with two former Utah Opera resident artists, Leah Wool as Dorabella and Aaron Blake as Ferrando, along with a current resident artist, Abigail Levis in the role of Despina.

“It’s one of Mozart’s most virtuosically written works,” Blake said. “It puts high demands on the singers, but it’s fun to sing.”

For Wool, this will be her debut as Dorabella. “I’ve always wanted to do the role,” she said. “It’s really satisfying.”

“It’s such a masterpiece,” said Karin Wolverton, who sings the role of Fiordiligi, Dorabella’s sister. “it’s a complicated story but the music is just incredible.”

According to conductor Will Crutchfield, part of the success of Mozart’s three da Ponte operas lies in what da Ponte brought to the collaborations. “Da Ponte wasn’t from opera. He came from a literary background and his circle of friends looked down on opera.” However, that didn’t deter him from writing some of the most scintillating words and clever scenes in all of opera. “He revolutionized it,” Crutchfield said. “He was free from operatic conventions,” allowing him to be imaginative and innovative. “For example, he brought the sonnet form to opera,” Crutchfield said.

For this production, the story has been moved up to the 1920s. “Setting it in the 1920s is a fantastic way to show different classes of people, and the differences in culture and society among the classes,” said stage director Crystal Manich. “Così lends itself well to the ‘20s.”

Susan Memmott Allred had a great time designing the costumes, she said. “We went to Los Angeles for the fabrics, and we bought fabric that implies the period.” In designing, Memmott Allred took into account several different things. “I took elements and our perceptions [of the period] and brought them to the costumes of each of the characters. It was all very fun.”

The opera will be sung in Italian with English supertitles.

  • PERFORMANCE DETAILS
  • What: Utah Opera, Così fan tutte
  • Venue: Capitol Theatre
  • Time and Date: 7:30 p.m. March 14, 16, 18, 20; 2 p.m. March 22
  • Tickets: $18-$95, $10 for students and anyone 30 years of age and under (ticket prices will increase $5 when purchased on the day of the performance)
  • Phone: 801-355-2787 or 888-451-2787
  • Web: www.utahopera.org
  • ALSO: “Opera-tunity,” final dress rehearsal for local high school students, Capitol Theatre, 7 p.m. March 12, $3
  • ALSO: Opera Prelude Lecture by Utah Opera principal coach Carol Anderson, Capitol Room, Capitol Theatre, one hour prior to each performance, free for ticket holders.
  • ALSO: Q&A Session with Utah Opera artistic director Christopher McBeth, Capitol Room, Capitol Theatre, immediately following each performance, free for ticket holders.
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About Edward Reichel

Edward Reichel, author, writer and composer, has been covering the classical music scene in Utah since 1997. For many years he served as the primary music critic for the Deseret News. He has also written for a number of publications, including Chamber Music Magazine, OPERA Magazine, 15 Bytes, Park City Magazine and Salt Lake Magazine. He holds a Ph.D. in composition from the University of California at Santa Barbara. He can be reached at ed.reichel@gmail.com. Reichel Recommends is also on Twitter @ReichelArts.

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