Mozart music by no means disappoints even when Covent Backyard’s Così fan tutte may frustrate you – Seen and Heard Worldwide

United Kingdom Mozart, Così fan tutte (ed. Ferguson/Rehm): Soloists, Refrain and Orchestra of the Royal Opera Home, Covent Backyard / Alexander Soddy (conductor). 26.6.2024. (CC)

Manufacturing:
Director – Jan Philipp Gloger
Revival Director – Olive Platt
Set designs – Ben Baur
Costumes – Karin Jud
Lighting – Bernd Purkrabek
Dramaturg – Katharina John
Refrain director – William Spaulding

Forged:
Ferrando – Daniel Behle
Guglielmo – Andrè Schuen
Don Alfonso – Gerald Finley
Fiordiligi – Gold Schultz
Dorabella – Samantha Hankey
Despina – Jennifer France

Così fan tutte turns into Così fan tutti, emblazoned in theatrical lights for all to see within the closing act (the ‘all’ referring then to each sexes, simply not the feminine). There may be loads of theatre-within-theatre right here: a forged take bows after a ‘efficiency’ through the Overture, for instance. We’re all the time conscious that we’re watching a narrative, a lot in order that it’s troublesome – if not unimaginable – to immerse oneself in Mozart and Da Ponte’s gold. Jan Philipp Gloger’s manufacturing is commonly intelligent (the impression of figures inside an artwork portray, for instance), however in altering types and eras so usually throughout the night, it turns into messy. A cabaret-like bar (Despina is barmaid), that oil portray, or a stylized practice platform, maybe referring to Temporary Encounter all rub shoulders. Covent Backyard’s personal programme booklets get a look-in onstage, wrenching us to the current. The ‘actual’ forged for the efficiency seems from the viewers. The stage-within-a-stage Backyard of Eden (full with snake wrapped round tree) felt, frankly, compelled.

Such stage dissonances are clearly deliberate, as is the dissonance with the plot in that the women know quickly on that the ‘Albanians’ are their betrothed in disguise. From that perspective we aren’t 1,000,000 miles from Dmitri Tcherniakov’s wife-swapping manufacturing (seen most lately earlier this yr at Paris’s Châtelet underneath Rousset). However no less than Tcherniakov’s stage was fixed. In Tcherniakov’s staging, there have been three {couples} (Despina and Alfonso making the third); right here, Alfonso was director not solely of the ‘sport’ of affection with all its ramifications, but in addition at occasions, it was implied, of the manufacturing itself.

It’s all a bit self-consciously intelligent; it’s all a little bit of a multitude. Scenic and temporal discombobulation is hardly the goal of Così; so if that’s what is foisted upon us, it has to light up, to depart us on the very least pensive (versus pissed off). The manufacturing does make enormous calls for on the workforce, although, and people have been carried out beautifully, notably the lighting of Bernd Purkrabek. Costume designer Karin Jud is clearly a virtuoso to manage so properly with Gloger’s concepts.

A lot for the meta-theatrical coat hanger this specific Così is hung upon. One factor is for positive: Mozart’s music is immortal and indestructible. The great thing about the primary act’s ensemble ‘Soave sia il vento’ remained intact, a heart-stopping second of pure magnificence, the voices in glorious steadiness. The choral contributions have been as skilled as one may come to count on from this venerable establishment.

Conductor Alexander Soddy marshals his forces properly; that is effective however not completely impressed Mozart conducting, in order that often the power drops. Particular person orchestral solos (woodwind, plus some good horn enjoying) indicated maybe a resonance between Gamers and conductor, mitigated on this event by the occasional ragged nook.

As to the person Gamers, it was Despina and the Don Alfonso who shone. Gerald Finley is a really nice singer, and he delivered vocally and, so far as attainable, dramatically, relishing the ‘sport’. And what a strong exclamation within the second act of ‘Misericordia!’ Jennifer France additionally wants little introduction; she is a singer of boundless power, nice stage presence and unerring, innate musicality. These she demonstrated in spades beforehand as Vixen Sharp-Ears (The Crafty Little Vixen, Opera Holland Park: 2021: overview right here). Her voice is ideal for the Despina, gentle but not insubstantial, each phrase clear, her ‘’In uomini! In soldati’ utter delight, topped solely by her ‘Una donna a quindici anni’. And the way she cherished the voices of the Physician and Notary. There appears no purpose to doubt France’s profession will proceed its upward trajectory.

Which leaves the lovers themselves. The one actual (non permanent) disappointment was Andrè Schuen. His lyric baritone is commonly lovely, however may very well be extra nuanced; actually within the earlier levels, when his resolution to sing all the pieces far too loudly made little sense. As soon as settled, there have been rewards aplenty. His male counterpart was Daniel Behle as Ferrando, superbly honeyed in his ‘Un aura amorosa’. Of the lovers’ quartet, although, it was Golda Schultz who stole the present as a pure-voiced, plausible, eminently Mozartian Fiordiligi, her ‘Per pietà’ a show-stopping spotlight, so tender and delightful. And whereas not each facet of Samantha Hankey’s Dorabella actually happy (a considerably fluttery vibrato at occasions), there isn’t any denying her power or vary (her ‘Smanie implacabili’).

That is hardly this manufacturing’s first outing, though it was my first publicity to it. Some stagings pose questions and invite one again for extra; this one left me pissed off. Go for the orchestra, the refrain and the soloists, by all means; however most of all go for Mozart’s music. That by no means disappoints.

Colin Clarke