Irene Roberts as Dorabella, Nicole Heaston as Despina and Nicole Cabell in Mozart’s ‘Così fan tutte’ © Cory Weaver/San Francisco Operaīen Bliss, the “splendid lyric tenor” says the New York Times, makes his Company debut as Ferrando, a role which he has also performed at the Metropolitan Opera, Seattle Opera and Oper Frankfurt. Disguising themselves as strangers, the two soldiers make a play for each other’s beloved, with surprising results – both humorous and poignant.
They are so convinced that their respective fiancées, Fiordiligi and Dorabella, will be faithful during their absence, that they accept a bet to this effect offered by Don Alfonso – aided by the fiancées’ feisty maid, Despina. Figaro – staged by San Francisco Opera last season – took place in colonial times when the manor house was newly built, Così fan tutte has been brought forward to the 1930s, at which time the house has become a Country Club, and Don Giovanni – to be staged next summer – is set in the distant future, by which time the occupants of the ruined house face an uncertain future.Ĭosì fan tutte – which loosely translates as “Women are like that” – tells of two friends, Guglielmo and Ferrando, who are about to depart on active service.
These operas weren’t planned as a trilogy at all, but Michael Cavanagh devised a way of linking them, in a project started in 2019, by setting each one in the same American house, over three different eras. Scene from San Francisco Opera’s production of ‘Così fan tutte’Ĭosì fan tutte, which premiered on 26th January, 1790 at the Burgtheater in Vienna, has a libretto by the Italian poet Lorenzo Da Ponte, and is the second of three Mozart operas for which Da Ponte was commissioned – the other two being The Marriage of Figaro (Le Nozze di Figaro) and Don Giovanni.
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