by Andreas Hager
Photo Credit: Nan Melville
Attending a co-production of Juilliard and the Metropolitan Opera’s Lindemann Program can feel similar to a high-school match at the steroidy heights of recruiting season. Last weekend at their production of Mozart’s Cosi Fan Tutti, beaming parents flocked into Juilliard’s Peter Jay Sharp Theater alongside the stars, agents, and cronies of the opera world. The young artists in the Lindeman Program may already be singing small roles at the Metropolitan Opera, but this was a chance to show how they fared in a leading role. They did not disappoint, bringing freshness and vigor to Mozart’s exploration of love and the limits of fidelity.
As aggressively modern as a sitcom, the plot focuses around two sisters, Fiordiligi (Emalie Savoy) and Dorabella (Wallis Giunta), who are happily in love with Ferrando (Alexander Lewis) and Guglielmo (Luthando Qave). The men are goaded into a bet with Don Alfonso (Evan Hughes) to test their lovers’ fidelity. Add in the scheming maid Despina (Naomi O'Connell), and you get an evening of mistaken identities, changing affections, and plenty of groping.
Alan Gilbert led the Juilliard Orchestra in a brisk and youthful reading of the score. Onstage, Savoy displayed an inhuman ability to navigate the treacherous shifts in vocal register, moving from a rich chest voice to creamy high notes. As her sister, Giunta displayed a clear soprano and a feisty stage presence. O’Connell brought a focused mezzo to the comic part of Despina, managing to negotiate the comedy without resorting to excessive mugging.