Cosi fan tutte at Lyric Opera in Chicago
At the heart of Così fan tutte lies a provocative question: how faithful is anyone, really, when love is put to the test? The cynical Don Alfonso, a philosopher with a wicked sense of humor, is convinced that no sweetheart can resist temptation. To prove his theory, he goads two young officers, Ferrando and Guglielmo, into a wager. Certain that their fiancées, the sisters Fiordiligi and Dorabella, are unshakably true, the men agree to a daring scheme: they will disguise themselves, swap partners, and attempt to seduce one another’s beloved. With the quick-witted maid Despina secretly in on the plot, the “harmless” prank quickly turns into a tangle of genuine feelings, jealousy, and confusion.As the sisters slowly warm to these mysterious “strangers,” the lighthearted masquerade begins to cut a little too close to the bone. What starts as a gleeful game becomes an unsettling mirror, reflecting how fragile trust can be and how easily desire can shift. Mozart’s score is the engine that drives all these twists and turns, tracing every change of heart with astonishing clarity. Fiordiligi’s soaring arias, Dorabella’s playful yet conflicted music, and the deliriously intricate ensembles show why this opera is considered one of the composer’s finest achievements: the comedy sparkles, but the emotions underneath are very real.
Lyric’s production brings together a dynamic cast of rising stars and beloved company favorites to inhabit these volatile relationships. American soprano Jacquelyn Stucker makes her Lyric debut as Fiordiligi, the sister who tries hardest to cling to her principles even as her resolve is tested. Opposite her is Italian mezzo-soprano Cecilia Molinari as Dorabella, more impulsive and open to adventure, and appearing in both her United States and Lyric debuts. Their chemistry as sisters—part camaraderie, part rivalry—will be central to the evening’s fun and heartbreak.
As the young officers whose “experiment” gets completely out of hand, American-born Cuban and Colombian tenor Anthony León (Ferrando) and American baritone Ian Rucker (Guglielmo) bring youthful firepower and charm. Both are fast-rising talents, and Rucker in particular will be familiar to Lyric audiences from his seasons with the Ryan Opera Center and multiple roles on the mainstage. Together, the quartet of lovers must navigate disguises, misplaced affections, and their own conflicting impulses as the plot twists tighter.
Guiding and manipulating them are two seasoned figures who know far too much about human nature: Don Alfonso and Despina. Grammy Award-winning soprano Ana María Martínez returns to Lyric in a deliciously comic turn as the scheming maid, a role that lets her toss off disguises, advice, and pointed commentary with equal relish. Opposite her is celebrated baritone Rod Gilfry as Don Alfonso, the mastermind of the wager whose amused detachment raises the question of whether he’s revealing truths about love—or simply creating chaos for his own amusement. With these two onstage, the evening’s wit and wisdom are in expert hands.
On the podium, Lyric Music Director Enrique Mazzola shapes Mozart’s intricate score with his trademark blend of elegance, rhythmic vitality, and dramatic insight. Since taking up his post in Chicago, Mazzola has become a familiar and much-admired presence, especially in Italian and French repertoire. In Così fan tutte, he leads the Lyric Opera Orchestra through music that demands razor-sharp ensemble work, graceful phrasing, and a deep sensitivity to the characters’ shifting emotional landscapes. The result promises a performance in which every musical detail supports the drama.
Visually, this Così fan tutte is rooted in a distinctive concept created by the late director Michael Cavanagh, who envisioned Mozart and Da Ponte’s three great collaborations in different eras of American history. For this opera, he chose the glamorous 1930s, complete with seaside resort ambience and a social world where flirtations and secrets can hide behind cocktail glasses and striped umbrellas. Revival director Roy Rallo brings that vision to life for Chicago, drawing out both the frothy surface delights and the undercurrent of real emotional risk that runs beneath the laughter.
What makes Così fan tutte so enduring is the way it blends sparkling comedy with a surprisingly modern view of relationships. No one escapes unscathed from Don Alfonso’s experiment: the men discover they may not know themselves as well as they think, the women confront feelings that defy their own expectations, and everyone is forced to ask what fidelity, forgiveness, and trust really mean. Mozart responds to these questions not with easy answers, but with music of such beauty and nuance that audiences leave the theater both entertained and moved.
For Chicago opera lovers—and for anyone who enjoys a smart romantic comedy with real emotional stakes—Lyric Opera of Chicago’s new production of Così fan tutte offers a chance to experience Mozart at his most dazzling and insightful. Between the starry cast, Mazzola’s musical leadership, and the stylish 1930s seaside setting, this February run promises an evening of wit, warmth, and unforgettable music.