Rudel's presence seemed to confirm, wrote Bernard Holland in The New York Times, "the old saying that interpretation begins — and perhaps ends — with finding the right tempo."
In Newsday, Marion Lignana Rosenberg wrote that "[in this] absorbing new production of CosÐ, director Tim Albery and set designer Tobias Hoheisel create a telling conceit for the opera's conundrums." Clive Barnes of The New York Post was also a fan, writing that "the exceptionally couth delights of Mozart's CosÐ fan tutte are handsomely highlighted by New York City Opera's spiffy new production." He added that Albery staged the opera with "unfussy grace."
Rudel was "vastly helped," continued Barnes, "by one of those special casts of brilliant young American singers that characterize City Opera at its best."
Rosenberg said "vocal honors go to baritone Kyle Pfortmiller (Guglielmo), who has a dark, buttery sound and a personality that pops off the stage." She also found soprano Julianna Di Giacomo (Fiordiligi) and mezzo Sandra Piques-Eddy (Dorabella) excellent, and wrote that "As Don Alfonso, veteran James Maddalena is a highlight of the show."
Holland offered similar praise: "What made the afternoon work, however, was Don Alfonso: James Maddalena's baritone may have lost some power over the years, but his graceful stage presence, excellent diction and discreet humor rode herd on his exuberant young cast mates."
New York City Opera's new production of Mozart's CosÐ fan tutte — directed by Tim Albery, conducted by Julius Rudel, and featuring Julianna Di Giacomo (Fiordiligi), Sandra Piques-Eddy (Dorabella), Maureen McKay (Despina), Ryan MacPherson (Ferrando), Kyle Pfortmiller (Guglielmo) and James Maddalena (Don Alfonso) — runs in repertory for four further performances between November 4 and 17 at the New York State Theater in Lincoln Center. For more information and tickets, visit www.nycopera.com.