September 16-22, 2004

fall arts calendar

Opera

Così fan tutte at Academy of Vocal Arts : Paul Sirochman

by Peter Burwasser

Faust, Don Pasquale and Così fan tutte all involve, in one way or another, dramas centered around what the American humorist James Thurber called the war between the sexes. It is hard to imagine that mankind will ever tire of the topic. The single departure from this theme this season is Poulenc's great masterpiece, which grapples with the profound questions of faith and spirituality.

Charles Gounod: Faust
There have been at least six other operatic versions of the Faust legend written, but this eternal tale was fashioned into one of the most popular operas in the repertoire at the hands of Gounod. The Frenchman's silken version eschews the Germanic complexities of Goethe in favor of the love story, but no one seems to mind.
Oct. 8, 10, 13, 16, 22, 24, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-732-8400.

Gaetano Donizetti: Don Pasquale
Donizetti's mature masterpiece is not known as a hit parade of melodies; rather, it is a superbly crafted ensemble piece, with high demands on the vocal agility and theatrical abilities of the performers. Inaccurate singing or hammy acting will sink this opera. Fortunately, OCP has an excellent track record with bel canto opera, and has assembled a very promising cast for this one.
Oct. 15, 17, 20, 23, 29, 31, Opera Company of Philadelphia at the Academy of Music.

Wolfgang Amadeus Mozart: Così fan tutte
Ay, carumba, they've done it again. In a very scant opera season, two producing groups have accidentally scheduled the same work. At least it is Mozart. Of the great triumvirate of operas that Mozart collaborated on with librettist Lorenzo DaPonte, Così fan tutte has always been the least performed, owing mainly to what has been historically viewed as a flimsy plot, at least as compared to the swirling dramas of Don Giovanni and Marriage of Figaro. Beethoven even condemned the work, which involves the swapping of lovers amongst two pairs of friends, as immoral. But it is the very modern undercurrents of sexual politics and human emotional frailty that has made Così increasingly popular for contemporary audiences and artists. The heart of the work is, of course, the music of Mozart, which makes flesh-and-blood characters spring to life. Così has been accorded a number of often daring treatments in recent years, but the singing is the thing. Given the extraordinary talents at both AVA and Curtis, this might be the season to see Così twice.
Nov. 5, 6, 9, 12, and 14, Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St.; Nov. 18 and 20, Centennial Hall, Haverford School, 450 Lancaster Ave., 215-735-1685. Nov. 18-21, The Curtis Opera Theatre at Prince Music Theater, 1412 Chestnut St., 215-893-7902.

Francis Poulenc: Dialogues of the Carmelites
Many astute music lovers know the 20th-century French composer Francis Poulenc as the creator of delightful, and feather-light music for small ensembles and voice, as well as the occasional blasts of Gallic orchestral bombast. This astonishingly powerful, even haunting opera, set during the French Terror, smashes such preconceptions. This work of great beauty and complex spirituality stands as one of the stunning stage works of the second half of the last century.
Nov. 19 and 21, Temple University Opera Theater, Tomlinson Theater, 1301 W. Norris St., 215-204-8307.

An Evening of Rossini Arias and Ensembles
These hit parade concerts are always immensely entertaining, and a great opportunity to preview future opera stars. It is almost a guilty pleasure to hear just the big tunes without the dramatic filler of the larger operas, but once in a while it is OK to have the sweet without the sour.
Dec. 14, Academy of Vocal Arts at the Kimmel Center, 300 S. Broad St., 215-893-1999.