“Così fan tutte” LA Opera review

“All women are like that…”

Possibly the most sexist opera in the classical music canon, Wolfgang Amadeus Mozart‘s comedic opera Così fan tutte is nevertheless a lot of fun to experience.

LA Opera recently presented their new-to-LA staging of Wolfgang Amadeus Mozart‘s Così fan tutte, conducted by Music Director James Conlon. The fresh staging cleverly updated and reset the action to a posh 1930s American country club, and was created by the late Michael Cavanagh.

Above image: Rihab Chaieb as Dorabella, Erica Petrocelli as Fiordiligi also Ana María Martínez (rear) as Despina in LA Opera’s 2025 production of Così fan tutte (photo: Cory Weaver).

The premise is as follows: The opera opens with the two young couples deeply in love. Their happiness, however, is tested when Don Alfonso, an older, more cynical philosopher, bets the two men that their fiancées are not as faithful as they believe. He suggests that, given the right circumstances, they could both fall in love with other men.

To prove his point, Don Alfonso convinces Guglielmo and Ferrando to disguise themselves as foreigners and court each other’s fiancée, all while keeping their identities secret. They agree to the bet, and things spiral into chaos when the women are tricked into falling for the disguised men.

Despina, the women’s maid, plays a crucial role in helping the men with their disguises and in encouraging the women to give in to their new suitors, turning the plot into a farce of mistaken identities, romantic entanglements, and comic misunderstandings.

As the two women fall for the disguised men, the opera reaches a comic climax, with Don Alfonso revealing the truth to both couples.

In the end, the opera questions the nature of love and fidelity. Both couples must face the consequences of their romantic illusions, but ultimately, they reconcile, and all parties seem to accept that love, like life, is unpredictable and full of surprises.

Voices were gorgeous, although Anthony León as our tenor lacked power. Under Music Director James Conlon‘s direction, the orchestra seemed somewhat muted to allow for some of the softer voices in the cast to be heard. Nevertheless, the expert musical direction of Conlon delivers Mozart’s score with grace and profundity, guiding his orchestra to chart the emotional nuances of the opera while balancing the comedic elements with moments of elegance and style. ​

This recent production by ​LA Opera offers a fresh perspective on Mozart’s classic opera by relocating its original setting from 18th-century Naples to a 1930s American country club. This adaptation, directed by Michael Cavanagh and revived by Shawna Lucey following Cavanagh’s passing, updates the narrative by adding some Jazz Age opulence that complements the narrative’s playful vibes. ​

The costumes and scenic design are as vibrant as the bubbly melodies and exquisite harmonies of Mozart’s lengthy opera (run time required a serious commitment of 3 hours and 30 minutes, with one intermission). Erhard Rom’s scenic design conveys the luxurious ambiance of an early 20th Century country club, perfectly complemented by Constance Hoffman’s stylishly chic costumes that capture the era’s love affair with glamorous and sophisticated fashion.

The cast is wonderful, with each member bringing an amusing interpretation of their reespective roles. Justin Austin (Guglielmo) and Anthony León (Ferrando) portray the young officers with an exaggerated mix of bravado and vulnerability, capturing the essence of their characters’ emotional journeys. Erica Petrocelli (Fiordiligi) and Rihab Chaieb (Dorabella) embody the lovable sisters with vocal prowess and emotional depth, making their transformations both believable and engaging. Rod Gilfry’s Don Alfonso exudes charm and cunning.

Ana María Martínez’s Despina (the club’s maid and Don Alfonso’s co-conspirator) proved a highlight of the evening with her broadly comic – both physical and vocal – performance. On stage she’s all lanky limbs and exaggerated gestures. She also implements the adoption of a high-pitched comedy Italian vocal style (when in disguise as a doctor or wedding officiant). She seemed to be channeling Gilda Radner’s famous and hilariously goofy SNL character Roseanne Roseannadanna.

LA Opera’s Così fan tutte is a visually stunning and musically rich production that offers a unique take on Mozart’s work. The creative setting, combined with a talented cast and exceptional musical direction, provides audiences with an evening of entertainment that balances humor with the opera’s more profound reflections on human nature.