Word: cosi
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Dates: during 2000-2009
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...which means “women are all alike,” was originally considered highly controversial due to its racy subject matter and was rarely performed for much of its early history. However, this same bawdiness appeals to modern college audiences; the DHO performed “Cosi fan Tutte” as recently as 2004. In keeping with its mission to make opera that is “youthfully innovative,” the DHO decided to set the production in the 1920s and all songs are performed using Andrew Porter’s English translations. Despite these...
...which means “women are all alike,” was originally considered highly controversial due to its racy subject matter and was rarely performed for much of its early history. However, this same bawdiness appeals to modern college audiences; the DHO performed “Cosi fan Tutte” as recently as 2004. In keeping with its mission to make opera that is “youthfully innovative,” the DHO decided to set the production in the 1920s and all songs are performed using Andrew Porter’s English translations. Despite these...
...Dunster House dining hall transforms from eating place to opera house as its Opera Society’s production takes the stage. Last year, “The Marriage of Figaro” was a huge success, and this year’s production of “Cosi Fan Tutte” (February 8-9 and 13-14) marks the 15th anniversary of the Dunster House Opera (DHO) series. To learn more about this year’s opera, The Harvard Crimson caught up with stage director Matthew M. Spellberg ’09 and musical director John...
...have always had a sort of soft spot for DHO because one of the first productions I did at Harvard was DHO’s “Cosi Fan Tutte.” I was only in the chorus, but I had a wonderful time. My junior year, I had a more substantial role in DHO’s “Dialogues of the Carmelites.” So I guess I never really left...
...know how to tell the rest of the family, his performance was intensely moving. Orchestral problems persisted throughout the evening and were sometimes highlighted by the soloists’ work, but these can only be harped on to a limited degree. Sure, the overture to “Cosi fan tutte” seemed occasionally on the verge of falling apart, but it never did, and it was enthusiastic and palpably exuberant in ways that many virtuosic performances are not. Fujimoto needs to learn to conduct with her orchestra rather than at them, and the players need to pay more...