I had this booked up for Wednesday; then it struck me that I didn't know it very well. So I watched a version I have on video, and decided that I didn't like it very much. Still, I thought, can't really go wrong with Mozart.
And I had a really enjoyable night. It was light-hearted, and at times, downright funny. The single funniest moment was when Don Alfonso (played by Sir Thomas Allen)'s mobile rang - with the Nokia tune played, in the style of Mozart, on the harpsichord!
There are those who say that Cosi fan tutte is sexist or even misogynist - it translates as 'How all women are'. This production (by the great Jonathan Miller) actually played it very much from a woman's standpoint, and there seemed to be hordes of young women on girls' nights out. My mate has a theory - you can really take offence at a lot of Irish folk songs, or you can say - there written by men about Stupid Men. And, indeed, opera, like Irish Folksong, is just littered with examples of Stupid Men.
Simple plot.
Offended by the misogynist remarks of their old friend, the philosopher Don Alfonso, Ferrando and Guglielmo agree to lay wagers on the outcome of a game he has designed to test the fidelity of their respective sweethearts, Dorabella and Fiordiligi. The two young men agree to obey the instructions of Alfonso (who has enlisted the help of Despina, the women's assistant): they feign a heartbroken departure to the front, only to return a few hours later disguised as dashing Albanians, eager to win the favours of the abandoned sisters. The young women put up an outraged defence of their virtue but before long they are yielding to the exotic advances of the strangers. The conspirators gradually become enmeshed by their own plot and are dismayed to find they are as susceptible as their victims. Events culminate in a double wedding and all four lovers discover that no-one is exempt from the secret inconsistencies of love.
- lifted directly from Royal Opera's website.
The plot was secondary to the music and, arguably, the words. And the music, well, it's Mozart - what can I say? The most famous arias are Come scoglio and Un'aura amorosa, but the score is littered with delicious and delightful arias, duets etc all the way to sextets.
The cast wasn't especially star-studded, except for Thomas Allen. I've liked him for years - never in a major way, but I've got pleasure from his performances on TV. The rest of the cast was Charles Castronovo as Ferrando, Christopher Maltman (Gugliemo), Catherine Nagelstad (Fiordiligi), Kristine Jepson (Dorabella) and Nuccia Focile (Despina). It was a good ensemble that worked well together, all acting fine. I wouldn't single any of the voices out for special praise, but I would be quite happy to hear any of them again.
The set was quite minimalist, all in different shades of white, featuring just a few chairs, a sofa and some floor cushions. The clothes appeared to be the classier end of M&S, except for when Ferrando and Gugliemo were in disguise, one as a hippy and one as a heavy metal freak.
All in all an enjoyable and memorable evening.
The conductor was Stephane Deneve, who's just taken over as musical director at Royal Scottish National Orchestra. I was struck by his uncanny resemblance, particularly in the haircut department, to James Levine. Sort of Simon Rattle on acid.
