Wednesday, March 8, 2006; Page C10

Washington Post

'Fiddling With 'Cosi' for Better and Worse'

It is easy to play Mozart's "Cosi Fan Tutte" as merely fun, flirtation and froth. And it is tempting to tinker with the libretto, especially the ending. Opera Theatre of Northern Virginia is as susceptible to these temptations as the work's heroines are to the importunities of their disguised lovers -- and yet, just like Fiordiligi (Lisa Archibeque) and Dorabella (Elaine Dalbo), the company comes out rather well.

Joe Banno's abridged production, at the Thomas Jefferson Community Theatre in Arlington on Sunday afternoon, used modern dress and settings. This created funny moments (Fiordiligi and Dorabella shared photos via computer and, later, made a cell phone call for help) and awkward ones (partial undressing and mild bondage). The worst idea -- pure tasteless jingoism -- was having Ferrando (Ole Hass) and Guglielmo (John Dooley) depart as U.S. soldiers, then return disguised as Arabs, cringingly terrified when Fiordiligi wielded a crucifix and Bible.

The glorious music sounded fine even from an 11-member ensemble, which Artistic Director John Edward Niles conducted spiritedly. In fact, "spirited" described the whole production: All six singers acted enthusiastically, with Lewis Freeman (Don Alfonso) and Kelly Smith (Despina, a barmaid -- updated from chambermaid) knitting the plot neatly together.

About that plot: Mozart and librettist Lorenzo da Ponte focused on human frailty and ultimate forgiveness, with the women finally returning to the men they betrayed. Banno and Niles preferred to have them switch partners at the end. That arguably makes musical sense by pairing the soprano and tenor. But it's a sitcom solution, not Mozart's.

-- Mark J. Estren