Concert Review: Israeli Opera Mozart - Cosi FanTutte

onducted by Daniel Cohen, the Symphony Orchestra Rishon Lezion sensitively adjusted itself to the intentions of the singers.

By URY EPPSTEIN
June 5, 2019 21:09
1 minute read.
Israel Symphony Orchestra Rishon Lezion

The Israel Symphony Orchestra Rishon Lezion. (photo credit: WWW.ISORCHESTRA.CO.IL)

 
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Feminists shouldn’t like Mozart’s comic opera Cosi Fan Tutte, performed at the Israeli Opera.

“Like that” (cosi) “fan” (act) “all of them” (tutte), namely, being unfaithful to their lovers, as women are portrayed in this opera. Moreover, they are portrayed as stupid, though it is not clear that this too was Mozart’s intention. After all, women, however unfaithful, can hardly be expected not to recognize their disguised lovers – even though, for Albanians, they speak surprisingly good Italian.
Atom Egoyan’s direction and Debra Hanson’s sets were tastefully minimalist, though an abundant use of choir singers, milling around and standing purposelessly around the stage, were confusing more than amusing.


The sisters – being different in character and tone color – would have been better if they dressed in different costumes in order to emphasize their different personalities. Dressing them in similar costumes was amateurish and confusing.


As Despina, Hila Bagio stole the show with her cute soprano and sense of humor in the triple roles of housemaid, physician and lawyer. Ionut Pascu’s sonorous baritone was an authoritative, persuasive Don Alfonso.


Conducted by Daniel Cohen, the Symphony Orchestra Rishon Lezion sensitively adjusted itself to the intentions of the singers.


If not taken seriously, it was a mildly amusing performance.

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