Wolfgang Amadeus Mozart is a classical music genius from the 16th century. He was also something of a rock star in the 20th century. Mozart was one of the few classical musicians featured on the WXRT Featured Artist Cards back in the '70s and '80s. He was cool enough to be a part of "Chicago's Finest Rock." Così Fan Tutte opened Sunday at the Lyric Opera to a 21st-century audience, the orchestra conducted by maestro Enrique Mazzola, with the Lyric Chorus directed by Michael Black. It was a spectacular afternoon at the Lyric, and one of the best Mozart performances I have seen since The Magic Flute, presented in a silent-film style in 2021. Ray Rallo directs this revival of the late Michael Cavanagh's production with a light touch.
This Così Fan Tutte is set in the 1920s at the swanky Wolfbridge Country Club, where the devious Don Alfonso (Rod Gilfry) serves as manager. Two sisters, Fiordiligi (Jacquelyn Stucker) and Dorabella (Cecilia Molinari), are at Wolfbridge for a respite of swimming, badminton, and resort pursuits. They are joined by their fiancés, Ferrando (Anthony León) and Guglielmo (Ian Rucker). Don Alfonso homes in on the men as they are singing about how faithful, beautiful, and wonderful their fiancées are. Don Alfonso sees an opportunity for mischief. He engages the worldly and cynical maid, Despina (Ana María Martínez), to be a bug in the ear of the naive women.
Everyone in this cast is a superb actor and singer. Così Fan Tutte is a comic gem with some of the most difficult music to sing. Mozart is known for his use of chromaticism, giving his music an elaborate, rich sound. I always imagined it as sheet music full of curlicues, but when I actually saw it, I realized there was a pattern to it. If music were a fabric, Mozart would be a really cool paisley. The direction and stage movements are as musical as the notes being sung.
I was pleased to see the cast's physical agility, especially given the baroque elements in the music. The breath control and projection while on a treadmill or falling to the floor pretending to be poisoned is astonishing. Stucker's soprano is clear and pure with rounded and fully colored tones. Molinari's mezzosoprano is a perfect matchup with Stucker on duets. She is a master of coloratura, as is Stucker. Their duets were fun, with every embellishment on point.
I was thrilled to see Ana María Martínez in the cast. I have seen almost all of her performances at Lyric. She played the tenacious Donna Elvira in my favorite Don Giovanni opposite Mariusz Kwiecień. They had fantastic chemistry in Mozart's tale of the libertine aristocrat, and Martínez is one of the great sopranos of this era. She is a standout as Despina, who assumes the identities of a notary and a doctor as she conspires with Don Alfonso to prove that women are incapable of being faithful. This performance should be seen to see the resuscitation of Ferrando and Guglielmo posing as poisoned Albanians. Martinez's voice is sublime, even in the comical singing. Despina and Don Alfonso make hilarious co-conspirators.
Baritone Rod Gilfry is an opera veteran in fine voice. He is charming with a sly demeanor that is too funny to be villainous. Tenor Anthony León sang the most beautiful "Un'aura amorosa" near the end of Act I. His voice is silky and dulcet, and he is a wonderful actor, yearning for Dorabella and singing of his devotion. He and Rucker are an upscale Abbott and Costello posing as Albanians with shaggy moustaches. Baritone Ian Rucker is a Ryan Center alum, most recently seen in Carmina Burana. He was in Lyric's 2025 La Boheme as the comic relief Schaunard. He has a great voice and a wonderful stage presence.
It would be criminal not to mention Constance Hoffman's costumes. They are colorful and chic with a comical flair. Think of Rosalind Russell in The Women (1939) with her eyeball sweater and other outrageous attire. The gym outfits feature red caps with whimsical tassels. The men's outfits are even more hilarious with the striped tops and long shorts. Erhard Rom designed the gorgeous projections and sets with chic and clean lines.
As always, maestro Mazzola led the orchestra with precision. All the beautiful colors of Mozart's music are heard, and never overpower the singers. It was in perfect alignment with the main cast and the superb chorus. It all worked together to bring Mozart's Così Fan Tutte to life. It was a rock star performance all around. I highly recommend seeing Così Fan Tutte.
Così Fan Tutte runs through February 15 at the Lyric Opera House, 20 N Wacker Drive. It runs three hours with a 30-minute intermission. Only five performances are left.
For more information on this and other productions, see theatreinchicago.com.
Support arts and culture journalism today. This work doesn't happen without your support. Contribute today and ensure we can continue to share the latest reviews, essays, and previews of the most anticipated arts and culture events across the city.
