Chip Smith, Central City.   The magic of Mozart is alive and can be experienced at the cultural gem of Central City Opera. The 2017 season is presenting an operatic ensemble masterpiece! Cosí fan tutte, composed in 1790 and sung in Italian with English subtitles, features an ensemble of six singers, who sing beautifully in arias, duets, trios, and sextets. Mozart’s masterful melodies and harmonies are at their finest in this comic opera.

The opera is set in a university classroom. Two students enter into a discussion with their professor.

Guglielmo, performed by baritone David Adam Morre and Ferrando, performed by tenor Mathew Plenk, are convinced that their fiancés are faithful and loving. Their professor Don Alfonso, sung by bass-baritone Patrick Carfizzi argues just the opposite. They are untrustworthy, and he can prove it.

The bet is on! We meet the young ladies, Dorabella, performed by mezzo Tamara Gura, and Fiordiligi, sung by soprano Hailey Clark. They are informed by the professor that their lovers are being sent off to war. Tears and sadness follow. The young men return disguised as Albanians and immediately set out to woo the girls. They take poison and slowly the poor naiveté young girls start to become involved with the “exchange students!” Don Alfonso enlists the help of Despina, sung by mezzo Megan Marino, to set the trap. Forming the buffo pair, she and Don Alfonso manipulate the other two pairs of lovers to the audience’s delight.

Singers understand that Mozart’s operatic music contains all of the characterization and drama needed for performance. The stage Director Mr. Stephen Barlow understands this concept as well.

His staging was spot on. Realistic, with economy of movement, allowing for the singers to create beautifully sung performances. The opera opens in a lecture hall, a multi-leveled set piece with very steep steps. However, the steps created some discomfort for the performers. They had to think and be careful while ascending and descending. The ladies’ costumes were stunning! Mr. Andrew D. Edwards did a masterful job. There was a moment when the staging included having Dorabella climb under a railing descending down to the next level. This was awkward for the viewer and difficult for the singer.

The singing was excellent throughout. Mr. Carfizzi sang with a warm, commanding bass-baritone and, coupled with a charismatic comic flair, he completely surrounded his role. The role of Fiordiligi presents a challenge to the best of singers. The aria Come scoglio is a tour de force and requires that the singer possess an extensive range and incredible flexibility, often jumping large intervals to be able to sing it well. The aria was stunningly captured by Ms. Clark. It is said that Mozart disliked the soprano Anna Ferrarese, the soprano that originated the role. She was the mistress of the librettist Da Ponte. Farrarese had the habit of tucking her chin for the notes in the lower register and tilting her head up and back for the upper range. Mozart used the excessive leaps to make her look like her head was bobbing like a chicken. Ms. Clark sang with wonderful posture and her singing was world class.

Perhaps one of Mozart’s most amazing gifts was that of composing for the operatic tenor voice. Un’ aura amorosa is certainly one of the most beautiful tenor arias in the operatic repertoire. It parallels Dalla sua pace from Don Giovanni and Dies Bildnis from The Magic Flute in its austere beauty and effect. Mr. Plenk captured this aria with a seamless legato and a pure tone.

Despina was sung by a pixilated and wonderful Ms. Marino. Her energy was contagious throughout her performance. She had a marvelous time and the audience was delighted with her escapades.

Mr. Morre and Ms. Gura rounded out the cast of fine singers. Their ensemble work and characters added to the wonderful overall quality of this production. The orchestra, conducted by John Baril, played with clarity and provided an excellent musical contribution.

Perhaps the best known musical selection is the trio Soave sia il vento – Soft/gentle be the wind, sung by Dorabella, Fiordiligi and Don Alfonso as they bid farewell to the young men as they set sail. The lecture hall revolves, a lighting change, and we are transported to the ocean. There is a moment of stunning visual magic that takes place!

The use of recitative- musical declamation sung in the rhythm of ordinary speech propelled the drama forward. Spirited tempi with clear Italian diction helped develop the plot and moved the listener quickly to the next aria or ensemble.

This opera should be on the must-see list of any lover of classical music. Look past the silliness of the plot and listen to Mozart’s ensemble compositions at their best. Close your eyes and listen to some of the most beautiful music ever composed.

Dr. Charles Chip Smith is a Professor Emeritus from Hastings College, Nebraska. He is the former Regional Governor of the West Central Region of the National Association of Teachers of Singing. His performance credits include over 150 operatic, musical theatre, vocal recital, and oratorio productions throughout the United States, Canada, England, and Switzerland.

(Originally published in the July 20, 2017 print edition of The Mountain-Ear.)