The production was set in 1914 and was made to look like a French Grand Hotel. The costumes were wonderfully reflective of the era, and let the movements of the singers show well. Contemporary costumes would have been too bulky, I think, and not seductive enough.
In a twist, Frederica Von Stade played Despina, the maid. The twist of course is because Flicka has been singing for over 30 years, and her more mature treatment of what is normally a young woman’s part was world-weary and knowing, and a delight to hear. The entire cast was very good, but especially noteworthy, besides Van Stade, who is always wonderful to hear, was Tenor Paul Groves as Ferrando and Soprano Alexandra Deshorties as Fiordiligi. The sextet also included Mezzo-soprano Claudia Mahnke as Dorabella (Von Stade premiered at SF Opera in this role in 1973), Baritone Hanno Müller-Brachmann as Guglielmo, and veteran Bass-baritone Richard Stillwell as Don Alfonso.
The story is that Don Alfonso bets the young soldiers that their fiancées cannot be faithful – indeed, no women can be faithful – and proposes to test his truth. He has the men pretend to be shipped off to war, and they return in disguise to test their women’s fidelity – the only problem being that the women fall in love with the other’s disguised lover, and hilarity ensues.
The orchestra, conducted by Michael Gielen, was nimble and airy, and nearly flawlessly matched the singers’ witty and delicate singing. While the show lasts almost three hours, it was an excellent introduction to Mozart, and opera in general. There were a number of children in attendance with grandparents (including the inquisitive one sitting right behind me for the first act! shhh!)
If you can, go see this show – it’s considered by many to be Mozart’s finest opera – and one of the old warhorses of opera rep.
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