““As laid out with elan by stage director Doug Scholz-Carlson, there is a lightness and an eye-winking pleasure in the telling of the story…Scholz-Carlson’s ingenious and witty updates, the sparkling cast and excellent design…”
Arthur Dorfman | Talkin Broadway
Minnesota Star Tribune | Rob Hubbard
Review: Minnesota Opera presents delightful ‘Così fan tutte
Audiences can pick the ending to Mozart’s comic opera in this production.
”I found the production delightful…Director Doug Scholz-Carlson has conspired with the design team of Amber Brown, Emma Gustafson and, particularly, Paul Whitaker — creator of its endlessly eye-catching sets and lighting — to make Minnesota Opera’s production a tremendously enjoyable update to this archaic tale.”
Minnesota Opera’s ravishing production of Mozart’s comedic piece, Così Fan Tutte, delights audiences.
Broadway World | Joe Sarafolean
“The 260+ year old piece has been modernized for Twin Cities audiences by moving the story into modern day MN. Not only does it prove more relatable but it also demonstrates that the story certainly transcends time…”
Così Fan Tutte is not only gorgeously performed but it is also beautiful to look at. Paul Whitaker’s set and Amber Brown’s costume designs are simple but very effective. Whitaker’s use of lighting and bare bones set pieces elevate each scene, sometimes so subtly that you hardly notice the lighting is changing until suddenly it feels like a different time of day. While Brown’s clever designs to inform the audiences of which couple is which, just will the color palettes utilized is remarkable genius. The best part, their elements never detract from the talent on stage, they simply add just enough magic to the piece to make it that much better to witness.
Reviewers take on choosing your own ending:
Minnesota StarTribune: “While the original text has the two pairs ending up with one another in the end, Stage Director Doug Scholz-Carlson and his team have concocted a clever way to engage the audience in a whole new way. At Intermission of each performance, the audience is asked to vote on how they would like the opera to end. No one knows which of the three endings will play out until the moment it happens. Not only does this create a sense of adventure for the audience but also the actors, who are informed of the decision mid-act, all leading to a surprise for all.”
Arthur Dorfman, Talkin Broadway: Stage director Scholz-Carlson has made a few changes that bring a buoyancy to the narrative to match that of the score. For one thing, the couples don’t necessarily reconcile. Instead, the audience decides, based on what we have seen up to the intermission. The choices are 1) having the couples reconcile; 2) having them switch partners, after each sister has had a tryst with the other’s fiancé (albeit, unwittingly); or 3) having all four go their separate ways. The voting is a simple process set up in multiple lobby locations. Cast members are told during the course of the second act which of the three endings has been chosen. All three endings are devised to use the same Mozart score and Da Ponte libretto. I would be keen on returning to see how each of the endings is accomplished, but have to settle for seeing the one that received the most votes from the opening night audience. (Also from Talkin Broadway, Art Dorman)
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