Any Mozart fan will rush to buy a ticket when hearing of a new production of the master of composition, especially when it is Cosi fan tutte, a lighthearted look at the complicated relationship men and women can have. This is no drama, the opera buffo resembles a bit modern soap operas, not to be taken too seriously; after all, it is the story of an old philosopher who thinks that all women are fickle. And who wants to believe an old man, they are not all wise, or are they?

The playfulness with which the plot unfolds is dramatically emphasized by the effortless musical performances of the participants. This particular ensemble splendidly slipped into their roles with just the correct amount of pathos when necessary not to present the story as a farce, but a school about woman, and actually about men as well with a somewhat difficult dialogue.

Artistic Director Geoffrey Butler knows only too well that Mozart looks easy, but is difficult and Cosi fan tutte is no exception. He has just the right touch to lead the performers through this complicated maze of love, spiked with emotional landmines, while conducting the orchestra, which sounded superb, especially since Sabatina Vacca played the very noticeable harpsichord, which placed this opera in its correct time period, and complimented the set and costumes perfectly.

The voices of Marcelle Boisjoli, Rachel Cleland and Anna Bateman complimented each other well, as did Anthony Cleverton, Ryan Harper and Dion Mazerolle. The chorus, all from the University of Toronto, doubled as set decorators, an ingenious way of changing the location without much fuss. This set, designed again by Frank Pasian, was brilliantly simple and elegant at the same time. The entire execution of the production was tightly organized and presented, an amazing team effort.

Standing ovation

The opera was sung in English, which was not necessarily a better choice; without the overhead titles it is hard to follow the text, because not all voices, especially those in the upper registers, lend themselves to perfect diction, thus making them hard to understand. This being the only “flaw” in an otherwise wonderful production makes us want to book ahead for the next presentation this company has to offer. But first there is the Gala on March 19, 2011. Go to www.operayork.com to find out more.

Opera York is a professional opera/operetta company run by volunteers. It goes into the community and brings understanding of opera/operetta into the school system. Gives novices a chance to step onto the stage, has its own choir and orchestra and has become acknowledged and respected in the field and audiences alike.