Mozart’s ‘Cosi fan Tutte’ Makes a Delightful Trip to the Beach

It is a sunny conceit that takes Mozart’s “Cosi fan Tutte” from 18th century Vienna to an American locale, “a resort on the beach,” in 1913, and it works. Delightfully.

San Diego Opera’s new production, unveiled Saturday night in Civic Theatre, seduces with color, stylish costumes and telling visual details yet consistently supports the wisdom and humanity of Mozart’s final comedy, never trivializing its perspective. It illuminates a great work without distracting from it.

Even more important, the musical performance, led by German conductor Peter Erckens in his U.S. debut, emerged as solid, ideally paced, often brilliant. Among many other virtues, Erckens persuades his six principals to under-sing, a thrilling alternative to the bellow-and-screech sometimes heard from opera singers.

Allen Moyer’s proscenium curtain and his single-unit set specify the move to California: Coronado and the Hotel Del assert themselves even before the curtain rises; then, from the rear of the hotel, an elegant beachfront porch overlooking the water dominates the stage. Edwardian-era furniture, handsome period costumes--including Mabel Normand-type bathing clothes--even a moon-over-the-water and a boat, add to the ambience. It is all quite gorgeous.

But Mozart is served, not compromised. The singers meet all the myriad challenges ably, sometimes exquisitely.

Barbara Shirvis’ commanding and beauteous Fiordiligi moves from strength to strength, singing even more authoritatively in Act 2 than earlier. Margaret Lattimore’s Dorabella--she was heard in the same role last year at Opera Pacific--is, in a generation of fabled Dorabellas, one of the most admirable, poignant and musically eloquent.

Though never distinctive of sound, Sheryl Woods is a model Despina without exaggeration; she underlines the comedy without mugging, sings accurately, never over-charms. Her male counterpart, Swiss baritone Francois Loup, matches her virtues. He makes Don Alfonso a low-key boulevardier, a quiet deus ex machina with overtones of Bela Lugosi. For once, Loup’s signature understatement becomes perfect characterization.

And for once, the ladies’ male lovers--except for Loup, this is an American cast--can sing all the notes, and well. John Osborn’s Ferrando began timidly but soon blossomed. He is an aggressive musician with the power to sing softly, which he demonstrated impressively. As Guglielmo, Stephen Powell showed similar strengths and sensitivities and moved deftly as well. His final aria in Act 2 engagingly combined heft with lyricism.

All this success redounds to a gifted production team: stage director Leon Major, who kept the action going and the comedy sensible; lighting designer Mark McCullough, who provided visual variety and mood cues; most of all, conductor Erckens, whose tempos savored Mozart’s score without dawdling over it. Of course it’s a masterpiece, but it seldom sounds this wondrous.

* San Diego Opera repeats “Cosi fan Tutte” in Civic Theatre, 202 C St., San Diego, today at 7 p.m., Friday at 8 p.m., Sunday at 2 p.m. and March 17 at 7 p.m. $31 to $112. (619) 232-7636.