As music director of the Paris Opéra, Philippe Jordan once conducted a production of Così fan tutte sprung from the imagination of the Belgian choreographer Anne Teresa De Keersmaeker, who fielded a dancer to double each singer—a cumbersome arrangement not without its moments of epiphany. There were musical epiphanies, too, most of all with respect to the alla breve (or “cut”) rhythms Mozart made something of a signpost to the impetuousness that runs through the Da Ponte libretto’s sublime Game of Love and Chance. The mise en scène this time is by the self-styled “gay Jewish kangaroo” from Oz, Barrie Kosky, who rejoices in setting an impish imprint on the classics. Among the lovers, the soprano Federica Lombardi, the mezzo Emily D’Angelo, and the baritone Peter Kellner are from the current A-list, with the New Zealand-Tongan tenor Filipe Manu the very spunky joker in the pack. The schemers who lead the dance are Kate Lindsay and Christopher Maltman, wily performers both, with great chops. —Matthew Gurewitsch