On the Afternoon of March 18th, 2012 New York City Opera performed their rendition of Mozart’s opera entitled, ‘Cosi Fan Tutte.’  This production took place at the Gerald W. Lynch Theater, which is located within John Jay College.  Tommasini begins his review with a positive comment about New York City Opera’s production, saying that they have produced a must see event.  He also states that this show is the “third of only four productions in the company’s modest season.”

Tommasini says that New York City Opera’s production of ‘Cosi Fan Tutte’ can be appreciated and enjoyed by anyone, no matter if they are an “opera veteran buff” or a “curious newcomer.”  The show was performed in an intimate theater setting, which held only up to 600 people, which according to Tommasini, is “ideal for Mozart.”  The director of this show is a man named Christopher Alden, who has also directed another rendition of a Mozart opera entitled “Don Giovanni.”  Two other people who were extremely important to this production were the set-designer and the costume-designer.  Andrew Lieberman was responsible for creating a set that had the look of a “black-and-white movie.”  Terese Wadden was responsible for creating the costumes, which had the feel of the “early 20th century.”

One of the only few specific pieces of music that Tommasini briefly touches on in his review is an aria sung by the character of Dorabella.  The aria that Dorabella sings during the first act is entitled, “Smanie Implacabili” which is translated into, “Implacable desires.”  Tommasini says he felt that, “the music one of the most powerful expressions of sexual frustration in the opera.”  Since I did not see this production of ‘Cosi Fan Tutte’ and have not heard the aria entitled “Smanie Implacabili,” I took it upon myself to find a recording of this song on Youtube.  “Smanie Implacabili” is a extremely beautiful and face-paced aria that lasts for about three minutes.  The song requires a female singer who fulfills the vocal range requirements of a mezzo-soprano performer.  After watching the video clip of the “Smanie Implacabili,” I can recognize where Tommasini was coming from when he stated that this music is a powerful expression of sexual frustration.  I have attached a link to the video clip that I was able to find online: http://youtu.be/x_qM3iFJDzY