For those who understand Italian, the term “Opera Buffa” refers to the Italian variety of comic opera, the specialty of many composers, including the master, Wolfgang Amadeus Mozart.
Last week the Opera division of U of T’s Faculty of Music presented three performances of Mozart’s Cosi Fan Tutte. This opera truly embodies the spirit of 18th-century musical comedy. When this opera was first performed in Vienna in 1790, the general plot was already established (sort of like any soap opera these days)-it contains the usual operatic gimmicks: the use of masks and disguises to conceal identities, and brash and unpredictable wagers.
The opera begins with two officers (Ferrando, Guglielmo) happily in love with their sweethearts (Dorabella, Fiordiligi). A clever man named Don Alfonso bets both men that their women are as fickle as others, and always willing to cheat. This is where the title comes in-Cosi Fan Tutte, which means, “they all do it”. The plot thickens as both Ferrando and Guglielmo disguise themselves and seduce each other’s girlfriend. A hilarious charade follows with fake machines, fickle romances, and finally marriage (as in any classical comedy). The men lose the wager to Don Alfonso, and continue life having learned a lesson. This opera is meant to be funny more than anything, which is fine since Mozart wrote many silly pieces such as this.
The Faculty of Music’s production was appropriately light-hearted. The props, which were diligently employed, and the highlight of the night, when Guglielmo grabbed the maid Despina’s ass when he was supposed to be unconscious, all drew continual applause and laughter from the delighted audience. Interesting lighting also provided quality atmosphere. The costumes were thematic, always reflecting the personality and disposition of each character.
The singers/actors had definite strengths and weaknesses. There were strong performances by both Allison Bent and Joni Henson. Bent had to carry the role of Despina, the dynamic maid who changes her identity numerous times in the opera. She handled each transition with remarkable alterations in her acting and even her singing voice. She managed to alter her persona enough to differentiate each of her character’s identities, and still preserve the basic personality of her character.
Henson’s performance was also quite memorable, performing many of the opera’s most difficult arias with control and strength. Her interpretation also gave great life to her role, making her deserving of the thundering applause she received at the end of the performance. These two singers balanced out some of the weaker players in the opera, who struggled to keep up with their performances.
Overall, the Faculty of Music showed some great promise in its production, and certainly lived up to the Opera Buffa genre with its wonderful sense of Mozartean humour.
