Review: COSI FAN TUTTE, Royal Opera House
By: Aliya Al-Hassan Apr. 11, 2020
Already in its third week, the Royal Opera House's streaming initiative #OurHouseToYourHouse, turned to Jonathan Miller's modern version of Mozart's Così fan tutte.
The comedic plot surrounds two pairs of young lovers: Ferrando and Dorabella and Guglielmo and Fiordiligi whose affections are put to the test by an old 'philosopher', Don Alfonso. Women, he says, are never faithful; he therefore arranges for the two men to disguise themselves to test their partners, with the help of their maid Despina. What results is a poignant mix of comedy and tragedy as the women submit to each other's partners and the ruse is finally revealed.
Miller is intent on showcasing the comedy of the piece, with elements of farce and exaggerated facial expressions. He also enhances the sharpness of the opera, where the characters are forced to examine how various deceptions have been deeply damaging. The end result is that every character takes a more pragmatic stance on life, but it is also clear than some wounds will never heal.
Fiordiligi was sung by Maria Bengtsson. She showed a fullness to her upper range and was certainly stretched by Fiordiligi's arias, but overall shows a brilliant control over Mozart's demanding vocal writing. "Come scoglio" in Act I is tender and perfectly pitched, with a wonderful, more lyrical pace in "Per pietà" in Act II.
Fiordiligi's sister Dorabella was sung by Jurgita Adamonyt?-; although less impressive than Bengtsson, she showed lovely warmth to her tone, with some beautiful chemistry with Bengtsson.
Their lovers were sung by Pavol Breslik as Ferrando and Stéphane Degout as Guglielmo, who were both clearly having a ball with the elements of silliness of their characters. After being supposed called up to fight in the war, the pair return as Albanians, dressed in clothes that are a mixture of Axel Rose and Captain Jack Sparrow, with extremely tight trousers. The disguises are very funny, but not necessarily sexually attractive, making the girls' desire for them a little puzzling.
Breslik's voice was beautifully fruity and clear, with some of his comedy veering into exaggerated territory. Degout was thoughtful and precise, with a voice full of expression.
Thomas Allen showed what an experienced Don Alfonso he is: he exuded fun, cynicism and great comic timing. Rebecca Evans's joyful Despina was wonderfully amusing and the combination of Allen and Evans was delightful.
This 2010 version of the production, directed by Miller himself, sets the action firmly in the present day with current technology a constant presence. A harpsichord plays out the Nokia ringtone from the pit, Apple's iPhone is used to take incriminating selfies and Starbucks and Krispy Kreme donuts make an appearance.
The set is rather sparse; a large white room with cushions scattered around and a sofa and one chair. The large mirror that is set in front of the doorway is used a little too frequently by the cast and is an obvious reminder of the narcissism behind every character. The simplicity of the set may have been underwhelming in the grand setting of the Royal Opera House and is not in any way cinematic, but on a smaller screen, it works very well, with focus solely on the singers. This is particularly true with the sharpness of the costumes, famously designed by Giorgio Armani.
Thomas Hengelbrock conducted beautifully, with some suitable sharpness in the score, along with some moments of soft rapture. The orchestra sounds warm and very comfortable with the score, rolling it along at a totally natural pace.
Così fan tutte is an operatic masterpiece and Miller's unique interpretation will continue to bring it to new audiences. This is a beautifully composed opera with much comedy and a thoughtfulness that remains with you long afterwards.
Photo Credit: Mike Hoban
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