Word: fiordiligi
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Dates: during 1960-1969
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Cosi Fan Tutte, a title truly impossible to translate, roughly means "Women Will Do It All the Time." And in this bubbling tale of feminine frailty, everything happens in pairs. There are two sisters, Fiordiligi and Dorabella, and their lovers, Guglielmo and Ferrando, respectively. Things get rolling when Don Alfonso, an old conniver, bets Guglielmo and Ferrando that their loves would betray them, given the chance...
Margaret Yaugher, mezzo, as Dorabella, with her firm rich tones was a mainstay of the ensembles, and Mary Sindoni, her sister Fiordiligi, has the perfect combination of a strong, flexible soprano voice and a genuine flare for high comedy. The chorus was charming and vivacious, except when changing scenery, but when they sang all the world was young and in love and healthy...
...decided how much extra salary the Met will have to pay its orchestra this year-there were still more hopeful omens on the second night of the season. In Mozart's Cost Fan Tutte, Connecticut's Teresa Stich-Randall made a long-overdue Metropolitan debut as Fiordiligi, displayed the purity, fullness and control that have won her ardent fans in Europe and on records. In the same opera, Negro Tenor George Shirley, 27, last year's Metropolitan Opera Auditions winner, filled in on short notice in the role of Ferrando, carried off the assignment with a handsomely...
Although most of America's expatriate singers are unknown at home, many of them have built up sizable European reputations. New York-born Claire Watson, 33, was one of the hits of last summer's Munich Festival, where she appeared as the Marschallin in Rosenkavalier and Fiordiligi in Cosi Fan Tutte. Brooklyn's Evelyn Lear, 31, of West Berlin's State Opera created a sensation at the Vienna Festival in Alban Berg's Lulu. Her Texas-born husband, Baritone Thomas Stewart, 31, was a surprise success as Amfortas in last summer's Parsifal...
...Cosi is competent and buoyant enough in the singing, rather dry and prosaic in the orchestral playing. Mr. Goldovsky conducts almost every number too fast, but the fine voices and fluent technique of the singers (especially the men--John McCollum, Robert Paul and Ronald Holgate, and Wednesday's Fiordiligi, Marguerite Willauer) go at least a little ways toward rescuing the situation. The staging, also Mr. Goldovsky's, is brisk though not particularly witty, and the only really unqualified success are Leo van Witsen's gorgeous clothes, whose rococo sometimes borders on the fantastic...