When I finally review Cosi fan Tutte from the Met, I will probably not have much to add to Anthony Tommasini's review in the New York Times Saturday. He even talks about Kelly O'Hara's Italian diction. I often feel a longing for Broadway diction at the opera. What's the purpose for operatic diction? The purpose, believe it or not, is not correctness but rather to achieve understanding by someone who speaks the language. Tone is the other consideration.
He talks about the lame disguises that appear in every production which we are supposed to think fool the girls, a pet peeve of mine.
There's nothing to be done about the fact that the premise is simply disgusting. It plays for the music.
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