UTAH LYRIC OPERA ENSEMBLE, PARADIGM CHAMBER ORCHESTRA, “COSI FAN TUTTE,” Libby Gardner Concert Hall, Feb. 12
The three operas that Wolfgang Amadeus Mozart wrote with librettos by Lorenzo da Ponte (Le nozze di Figaro, Don Giovanni, Così fan tutte) are notable for their wit, sophistication and biting satire on the conventions of the day. This is just one reason why these works are performed regularly in the world’s opera houses.
The three are as different from each other as three operas can be, but they all have a common thread – fidelity that is put to the test. And how this issue is approached and finally resolved distinguishes these works and give them their uniqueness.
The last of the three, Così fan tutte, revolves around disguises. It’s a hilarious story of faithfulness – or lack thereof. Ferrando and Guglielmo make a bet with the old cynic Don Alfonso that their fiancées will stay true to them when they’re allegedly called to duty in the army and must leave. While the women, Dorabella and Fiordiligi, are tempted to cheat, everything nevertheless ends on a happy note when the two couples end up marrying and swearing undying love for each other.
Così was performed over the weekend by members of the University of Utah Lyric Opera Ensemble and Paradigm Chamber Orchestra under the baton of Joel Rosenberg. This is the eighth collaboration between the two groups and Saturday’s performance was delightful with some fine singing by the young cast and good playing by the orchestra.
For Saturday, the double cast and slightly abbreviated concert version of the opera featured Valaura Arnold (Fiordiligi), Josette Grant (Dorabella), Marissa Sheppard (Despina), Zachary Milliman (Ferrando), Alasdair Waddell (Guglielmo) and Timothy Carter (Don Alfonso). And instead of recitatives, Jeffrey Price narrated the action and offered continuity to the vocal numbers.
The six singers were all wonderful and gave strong performances. Among the highlights were the trio “Soave sia il vento” sung by Arnold, Grant and Carter; the duet “Il core vi dono” sung by Grant and Waddell; and Arnold’s recitative and aria “Ei parte…Per pietà, ben mio.”
The chamber orchestra played well, although there were moments when it overpowered the singers. Even so, Rosenberg had everything well in hand and kept things together and flowing along very nicely.