These questions were raised with the cast members who recently finished four performances of “Così” in the Met’s revival of Lesley Koenig’s production, conducted triumphantly by James Levine in his return to the pit after more than two years away because of health problems. This cast reassembles in April, again with Mr. Levine, for more performances.

In this production, Mr. Polenzani sings Ferrando and the baritone Rodion Pogossov is his friend Guglielmo. The soprano Susanna Phillips is Fiordiligi, who, when the opera begins, is engaged to Guglielmo; the mezzo-soprano Isabel Leonard sings Dorabella, Fiordiligi’s sister, who has promised herself to Ferrando.

All four of these Met artists said that during rehearsals they discussed in detail the question of who winds up with whom. In any production, a cast must come together and convey a coherent idea. With this staging, the implication is that the original couples will reunite: The betrothed are uneasily paired together for the final duet. But none of the singers seem to think these betrothals will survive.

“I don’t believe that either Guglielmo or Ferrando could go back to their respective spouses knowing what has happened and knowing what is on the other side of the coin,” Mr. Polenzani said. “We have a girl we seem happy with. But then another door is opened.” Mr. Polenzani said he thinks that Ferrando, a decent fellow, will take some time — a week, a month or longer — to end his commitment to Dorabella properly before going to Fiordiligi, who is probably, he feels, better suited to Ferrando temperamentally.

Mr. Pogossov said that his friends from southern Italy are fiercely jealous people. If “a girlfriend goes with another guy, it’s crazy,” he explained. “They never forgive.” Still, he, too, imagines that after the initial reconciliation, Guglielmo will remain with his new love, Dorabella.

“As an actor, we have to imagine what will happen next,” he said, getting at a crucial point: A singer must flesh out the emotions of a character, even if those feelings are not explicitly clear in the opera as written.