Vancouver Opera Reimagines Mozart's Così fan tutte with Canadian Rockies Setting
Vancouver Opera has delivered a brilliant reinterpretation of Mozart's Così fan tutte, infusing the classic opera with distinctive Canadian flair. While Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte originally set their 1790 comic opera in an idealized version of 18th century Naples, this innovative production transports audiences to a luxurious resort hotel in the Canadian Rockies during the 1930s and 1940s.
A Fresh Take on Mozart's Underappreciated Gem
As the second production in Vancouver Opera's 2005-06 season of popular works, Così fan tutte has historically been considered the least celebrated of Mozart's three collaborations with Da Ponte, trailing behind The Marriage of Figaro and Don Giovanni in public recognition. This fresh interpretation opened on Saturday with additional performances scheduled at Vancouver's Queen Elizabeth Theatre on February 12 at 7:30 p.m. and February 15 at 2 p.m.
Plot Mechanics and Character Dynamics
The opera revolves around six central characters whose romantic entanglements form the core of the narrative. The plot unfolds when Don Alonzo, originally portrayed as a tutor to two privileged young men, asserts that love is merely an illusion. He wagers that under the right circumstances, each young man could easily fall for the other's girlfriend. This morally ambiguous bet sets the stage for comedic developments, with the servant Despina assisting in the scheme with predictably humorous consequences.
Talented Cast Brings Canadian Vision to Life
The production features an accomplished ensemble cast that delivers both precision and subtlety in their performances. The quartet of young lovers is portrayed by tenor Owen McCausland, baritone Clarence Frazer, soprano Jamie Groote, and mezzo-soprano Alex Hetherington. Bass-baritone Daniel Okulitch takes on the role of Don Alonzo, while legendary Winnipeg soprano Tracy Dahl brings her considerable talents to the character of Despina.
Musical Architecture and Ensemble Excellence
Mozart's score for Così fan tutte demonstrates a meticulous geometric structure, with duets evolving into ensemble pieces for three to six voices, complemented by occasional choral moments and obligatory showcase numbers for each singer. The musical approach leans more toward chamber music sensibilities than traditional operatic presentation. This production's success hinges on the well-balanced cast, whose performances are both cohesive and nuanced.
Canadian Adaptation and Creative Staging
The production's most striking innovation lies in its complete recontextualization of the setting. Instead of 18th century Naples, audiences find themselves immersed in the elegant atmosphere of a 1930s-1940s Canadian Rockies resort hotel. Period postcard images are projected throughout the performance onto a simple unit set that suggests hotel bars and garden terraces. In a particularly clever touch, a grand piano sits onstage where Tina Chang, in the invented role of lounge pianist Trixie, performs the keyboard parts for the extensive recitatives.
Costume Design and Character Reinterpretation
The costume design employs color-coding to help audiences distinguish between the similar-looking characters Fiordiligi and Dorabella, as well as Ferrando and Guglielmo. Rather than portraying privileged young aristocrats, the male characters appear as Mounties who disguise themselves as log drivers. Despina transforms into a spirited hotel housekeeper. The overall effect is stylish, witty, and clever, though it prompts reflection on whether this represents both the logical outcome of and a subtle satire on the concept of an all-Canadian production.
This Canadian adaptation of Mozart's classic opera demonstrates how creative reinterpretation can breathe new life into traditional works while maintaining their essential spirit. Vancouver Opera's production succeeds in making Così fan tutte feel both fresh and familiar, offering audiences a uniquely Canadian perspective on one of opera's enduring masterpieces.
