Jordana Goddard (Fiordiligi), Kcenia Koutorjevski (Dorabella), Teresa Tucci (Despina), George Theodorakopoulos (Guglielmo), Cameron Mazzei (Ferrando), Dante Mullin-Santone (Don Alfonso) / University of Toronto Symphony Orchestra and Chorus, Sandra Horst, conductor / Harbourfront Centre Theatre, March 13, 2025; (repeated March 14 & 15).
Are you getting sick of the winter? Are you depressed by the daily news, especially the stuff from south of the border? I highly recommend a surefire tonic — an irrepressible version of the Mozart gem, Cosi fan tutte, as recently staged by the University of Toronto Opera Division.
I attended opening night at the Harbourfront Centre Theatre, an intimate, 350-seat venue. The show is there due to the extended closure of the MacMillan Theatre. I am told that tickets to the whole run are all gone.
Of the three Da Ponte operas by Mozart, Cosi is the most problematic to 21st Century audiences. The idea that Fiordiligi and Dorabella cannot recognize their boyfriends in disguise — well, it truly stretches the imagination.
Thanks to U of T Music’s Associate Professor Emeritus Michael Albano, the plot has been reimagined. In the program notes, Albano writes: “After much contemplation, I could find only one solution — insert a new scene in which we learn that the sisters are cognizant of the deception.” Albano did it brilliantly and without adding any original music to the beloved score.
This little yet monumental change has made the opera much more suited to 21st Century audience sensibilities. It demonstrates that a bit of tinkering, when done sensitively, can make a world of difference.
The Production
The eye-catching set design by Scott Penner worked beautifully, using the small space effectively. Equally pleasing to the eye was the period costume by Andrew Nasturzio.
Kudos to director Anna Theodosakis for her laughs-inducing stage direction, with a wealth of detailed and nuanced touches, expertly choreographed and in sync with the music. There was a huge amount of physical comedy – I don’t believe I have ever seen so many falls in a Mozart opera performance! The youthful and physically agile cast was totally game, and it made for a very lively show.
The voices I heard last evening were in various stages of development, some nearly ready for primetime while others still needing further training. That said, everyone had the requisite energy, enthusiasm and the drive to communicate with the audience and show what they can do.
They were rewarded with very enthusiastic ovations from the audience at the end.
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