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School for Lovers: Christopher Alden Delivers Another Gift at City Opera With Mozart’s Cosi Fan Tutte (thepoliticker.observer)
'Cosi Fan Tutte' at City Opera. (Courtesy City Opera)
**The role of the “other” opera companies in New York** is to serve as
alternatives to the Metropolitan Opera. It’s that simple.
It has been this way since the turn of the 20th century, when Oscar
Hammerstein’s upstart Manhattan Opera House countered the Met’s stagnant
repertory with contemporary opera and the American premieres of works like
_Pelleas et Melisande_, _Elektra_ and _Salome_. New York City Opera, in its
prime, offered a similar package: the operas, directors and young, attractive
singers that the Met wouldn’t touch.
Fast-forward a few decades, and the situation has reversed. The Met is now its
own alternative, with an established and growing commitment to contemporary
work and a variety of directorial approaches on display. No longer, at least
in theory, is it all Zeffirelli-style naturalism, all the time.
City Opera, still reeling from financial troubles, seems to have ceded the
field almost entirely. What was most depressing about the _La Traviata_ that
opened its abbreviated 2012 season last month wasn’t the inanity of the
powdered-wig-realism production, though opera rarely feels so irrelevant and
pointless, with a tepid first act that felt like a garden ...