Check Out a New Take on an Old Story: Florentine Opera's "Così Fan Tutte: Remix"
As the musicians for the Florentine Opera’s Così Fan Tutte: Remix took their seats onstage in Vogel Hall this weekend, there were some notable differences between this group and the typical orchestral accompaniment to Mozart’s work. Instead of traditional concert blacks, many of the players wore acid washed jeans and leather jackets. And after the clarinet, bass, and trumpet players were seated, a young musician strode in with his electric guitar. This would obviously be out of place for the work when it was first performed in Austria in 1790, but it fit right in with the production’s new setting – in the student union of a small, American, liberal arts college in the 1980s. Yes, you read that right. This mash-up is Mozart meets the Reagan era, with all its big hair, shoulder pads, rugby shirts, and bleach-splattered denim.
So, why would the Florentine Opera commission a new version of a canonical work that is set two centuries after it was written, sung in English instead of Italian, and only 75-minutes long, instead of the traditional three-and-a-half hours?
This version lowers the bar to entry for audiences who are curious about opera.
When non-opera goers think of this genre, it’s often a stuffy affair; very old stories told in enormous opera houses, complete with huge sets, elaborate costumes, and shrill sopranos singing in a foreign language. Far from the modern storytelling in TV and movies, operas may seem long and melodramatic, filled with endless arias and Pavarotti-esque diva performers.
This Così Fan Tutte: Remix is none of those things. First, the Wilson Theater at Vogel Hall in the Marcus Center is relatively intimate. The multi-level set is simple and flexible, while providing lots of spaces for characters to interact – a large couch, a table, a bar, and a pool table. An enormous mural of the composer painted on a brick wall lets the audience know that the production is not going to stray too far from Mozart’s source material. A mirrored disco ball hanging over the musicians says it’s also not going to take this opera business completely seriously.
And at a little over an hour long, The Remix is not a huge time commitment. It’s a perfect “introductory size” opera. Also, there’s no need to learn Italian before the show – the libretto is in English with supertitles, so the singing is very easy to understand and read along with, if desired.
It speaks to a contemporary audience.
The title, Così Fan Tutte translates to “Women are like that.” (Ahem.) The original plot for Così involved overconfident young men betting one another that their wives/fiancees/lovers were so loyal that they could never be tempted by another man, and then this idea was put to the test. This was clearly a popular plot device – it was used by Shakespeare in both Othello and Cymbeline – but it has not aged all that well. (Obviously there is much more to a marriage than a woman’s honesty and fidelity.) So when Nicolás Lell Benavides and Kelley Rourke adapted the piece they broadened the subject matter to explore relationships, monogamy, forgiveness, missed connections, regret – while retaining many of Mozart’s glorious melodies.
It’s an entertaining blast from the past.
Nostalgia is fun. And for those of us who went to high school and college in the 1980s, and received invitations to class reunions in the aughts, the setting and characters from this Così Fan Tutte will look startlingly familiar. The dilemmas for women about juggling a family and career are still present, of course. And the production cannily illustrates how feelings around love can be strikingly different as a 20 year-old and a 40-something.
It’s a great showcase for emerging talent.
The Florentine’s Baumgartner Studio Artist Program is similar to an internship, bridging the gap between academia and professional careers in opera. During nine-month residencies, singers and musicians in the program have opportunities to gain performance experience, before going on to work with major opera houses. Così Fan Tutte: Remix gives starring roles to three current Studio Artists and one alumna – treating audiences to some new voices and faces, while offering challenging roles to junior players.
As the love-struck college girl Fiordiligi, Laura McCauley looked the part, with her high ponytail, jean skirt and bold striped blouse. But more important, her glorious soprano filled the auditorium as she sang about love, uncertainty, and betrayal. Tzytle Steinman is her confidante Dorabella, who tries to mask her boredom and unhappiness at the reunion with her photo album full of adorable children. Her mezzo-soprano provided lovely harmonies for the women’s laments. As Despina, Nicole Heinen provided comic relief as the friend with snacks who says the wrong thing at the wrong time. Her character’s awkwardness came through her high notes as Despina tried to sober up her disillusioned friends. Heinen also made a great party planner/song leader as she encouraged the audience to sing the college fight song to get ready for the reunion.
Patrick Bessenbacher’s Ferrando wallows in disappointment in both eras, after his ill-considered threesome comes to light. He pours regret into a solo in the first half that shows off his impressive tenor. As Guglielmo, Zachary Crowle’s booming baritone grasps once more at love at the college reunion, considering what could have been, but ultimately he seems more enamored with his big salary as a corporate lawyer than with the loss of his potential loves. As the cynic who initially rejects the mushy romances of his peers, David Guzmán’s Don Alfonso is the only one who seems quietly happy with the way things turn out.
It’s just good.
With this production the Florentine Opera proves that, like Shakespeare and the Greeks, which have been endlessly updated and tweaked over the centuries, re-examining old operas through a modern lens can be refreshing and revealing. Under the consistently boundary-testing direction of Jill Anna Ponasik, Così Fan Tutte: Remix is freed from its historical baggage so both the story and the music can play, unencumbered by weighty traditions, genre expectations, or outdated sensibilities. What a delightful prospect for new audiences.
Part of World Premiere Wisconsin’s festival of new work, the Florentine Opera’s Così Fan Tutte: Remix continues with performances on March 24 and 26.