The spring production from UoT Opera is Mozart’s Così fan tutte and it’s playing at the Harbourfront Centre Theatre.  Anna Theodosakios directs with some conceptual input from Michael Patrick Albano.  The production is interesting and I think there are three layers to unpack.  On the surface it’s a fairly straightforward 18th century setting with uniforms, wigs, elaborate dresses and so on but with a rather striking colour scheme; pinks and lilacs.

But there’s more going on.  Two interlinked problems are addressed.  One is the overall implausibility of the whole disguise schtick.  And if the girls actually do fall for that it’s hard not to consider them a bit dim.  So the girls are made complicit in their own deception though in a completely different way than, say, Atom Egoyan’s version.  Here a little performed recitative; originally given to Despina and Don Alfonso, is transferred to the sisters.  The key line, now Dorabella’s, is “Not even an idiot would believe those disguises”.  The idea is continued through the sisters duet where the boys, instead of being referred to as “the dark one” and “the fair one” are named.  And so on right through to the end where some lines are swapped up so it’s the boys who ask for forgiveness.  As modern opera productions go it’s not particularly radical but coming from Michael Patrick Albano, who asks us in his notes to leave the flaming torches and pitchforks at home (presumably wth his own considerable stock), it’s unexpected.

The third element in the production is “dessert”.  Cakes and confections figure largely and the extent and avidity of their consumption casts light on the austerity, or not, of various characters.  Taken with the colour scheme it becomes curiously reminiscent of Alice in Wonderland.  All this is accomplished with a single, simple set and some judicious use of the second level balcony.  There is, literally , nowhere to hide in this theatre.

It’s UoT Opera so there are two casts.  I saw the second performance by the first cast.  Theodosakis gets first class acting out of the whole cast with, unsurprisingly, particularly exuberant physical comedy from Teresa Tucci’s Despina though Dante Mullin-Santone’s sinuous Don Alfonso is not far behind.  The sisters are sung by Jordana Goddard (Fiordiligi) and Keenia Koutorjevski (Dorabella).  Both are excellent both in their big solo numbers and in the various ensembles.  There’s a real sense of Mozartian style, coupled with adequate oomph.  The boys are a bit more variable.  George Theodorakopoulos Guglielmo) is strong throughout while Cameron Mazzei (Ferrando) is fine in the ensemble work but is challenged by the big solos.  Vocally Mullin-Santone does an excellent job of sounding like an older man and Tucci navigates the vocal silliness of Despina rather well while singing the straight bits properly.  It’s just a pity that there’s no place for her excellent coloratura.

It’s quite a large orchestra for Harbourfront; 36 players, and it takes up a lot of space in front of the stage in what doesn’t quite pass for a pit.  It’s also quite a dry acoustic, which tends to make the sound less blended than one might like, so I think Sandra Horst does a really excellent job in helping the orchestra to sound good while not, at any point, covering the singers.  There’s also a nine person chorus who sing well and act exuberantly; especially in the final scene.

All in all, it’s an interesting and enjoyable show but you don’t have to take my word for it.  Last night’s show was live streamed and is available on Youtube.  This afternoon’s performance will also be live streamed and archived.

The last performance is this afternoon at 2.30pm.