Two young officers are persuaded by a bachelor to test their fiancees’ fidelity in Wolfgang Amadeus Mozart’s comic opera “Cosi Fan Tutte.”
The University of Memphis’ Rudi E. Scheidt School of Music Opera Division will perform “Cosi Fan Tutte” or “Thus Do All Women,” today and Saturday at 8 p.m., and Sunday at a 3 p.m. matinee, in the Harris Concert Hall of the Music Building.
Michael Johnson, opera director and associate professor of music, said this is his seventh and largest production of the opera.
“Cosi Fan Tutte” is one of Mozart’s most hailed operas. It was first performed in 1790, Johnson said.
“It’s some of Mozart’s best music, because it was created during the later years of his life,” Johnson said.
Although Mozart composed the opera more than 200 years ago, the themes have a modern essence.
Mark Ensley, opera conductor and Hohenberg-Scheidt opera coach, said the audience should be able to relate to the opera.
“I think most people will find something to like about the opera, either musically or dramatically,” Ensley said. “Love and relationships will never go out of style.”
In Act I, officers Ferrando (Ricky Douglas) and Guglielmo (John Thompson) are involved in an argument with bachelor Don Alfonso (Jose Andrade) about the fickleness of women.
Alfonso, who believes all women are cheaters, makes a bet with the two love-struck men to tempt their lovers and see if the women will remain true.
In the second act, Ferrando and Guglielmo disguise themselves as Albanians in order to fool and pursue the women, Fiordilifi (Kyoung Cho) and Dorabella (Allison Ellis). Another woman, Despina (alternately played by Melinda Duke and Diana Fazio), also tries to corrupt the two women.
Johnson said Mozart made the men Albanians because during his time, Albanian men were rumored to be Casanovas.
“The inside jokes are that the women from Serarra were racy and the men from Albania were supposedly well hung,” Johnson said. “It’s all kind of bawdy.”
Johnson said Mozart wrote the ending in an indefinite way so it could be interpreted differently by in different productions.
The group of performers is usually the deciding factor on how the play should end, Johnson said.
“Each time that I have directed the play I have chosen a different ending,” Johnson said. “It partially depends on the cast.”
This season, 12 people are in the chorus and six people make up the cast.
“It’s an interesting combination of people,” Johnson said. “There’s a great deal of adjusting with one another and finding a commonality in styles, but this cast has the energy to cover a broad spectrum.”
