The School for Lovers: Sex Education

November 9^th, it was a rather cold and dark night, yet it was perfect timing for watching Wolfgang Amadeus Mozart’s Cosi fan tutte at the Metropolitan Opera. As I walked upon the steps of the Metropolitan Opera’s entrance, I was amazed by the schedule of performances for the next week lit up on the ledge of the steps. I felt a cold breeze as I passed by the water fountain as it spurted out massive amounts of water into the air. As I walked closer and closer to the Met Opera, I came to the realization of how huge the building was in comparison to my small body and I was in awe. When I entered the building, I was in admiration of the beauty that was presented before me. I saw a long red velvet carpet, crystal chandeliers and polished wood columns, that all seem to unite the beauty of the building’s interior. I also had wonderment for the beauty of the gowns that the female opera attendees had worn. Many had on long, silky gowns that one would see only on a runway or at a movie premier; there were also a few individuals who stood out, such as a women in traditional Japanese kimonos. As I was seated, I was surprised by the translators that were available, because I believed I would have had to sit through three hours of listening to Italian singing without having the least bit of understanding. The performance commenced.

When the orchestra began to play, the sweet sounds of strings and woodwinds had mellowed my soul; I was at peace. The scenery was also an aspect of the opera to admire, as it was well crafted and the ability to move building across the stage was astounding. The colors reflected what one would see in reality of a beach or of a home. Aside from the scenery and the orchestra, the singers had stolen my heart; I fell in love with their voices and their characterizations. Don Alfonso reminded me of Iago from William Shakespeare’s Othello with his conniving, sly ways; the commitment of Fiordiligi to Guglielmo created a spot of sympathy for her in my heart. I felt pity for Ferrando as Dorabella was not as committed to him as her sister was to Guglielmo, and to me, Dorabella was deserving of dislike for her lack of commitment. The character that won my heart the most was Despina, as it was her humor and breaking down of the fourth wall that created a strong connection for me to her. The opera was brilliantly devised in plot, although the second act was a tad too long and in terms of reality, the events would have finished earlier if it were not for the constant singing. The length of the second act was compensated by the on-pitch, clear, melodious notes of the music and singers. However, one aspect of the opera that I did not appreciate as a feminist was the underlying sexist tones created by all the male characters.

The events of the play only occur because men are not trusting of their women. Don Alfonso is the epitome of a male chauvinist, insisting that he knows how women are, believing that they are evil creatures whose hearts do not remain loyal. Don Alfonso insists that he will school Guglielmo and Ferrando in the ways of women; essentially creating opportunity for a psychological sex education class. If it were not for Don Alfonso, Guglielmo and Ferrando’s persistence, the women would not have cheated on their men. Dorabella and Fiordiligi would have not been swayed by “the Arabs” if the men only trusted them and their loyalty. Don Alfonso only teaches the men that if you are extremely persistent, you can sway any woman, single or taken. Other than the sexism presented by the men, Despina is to be admired for her non-traditional take on womanhood, essentially thinking like a male but maintaining her femininity.

As the singers took their bows, I was overjoyed at having lived through my first opera. The night was well spent. I cannot wait for future performances at the Metropolitan Opera!