Last night at the English National Opera was Mozart's Così fan Tutte. Perhaps you might wish to read this in conjunction with my visit to Covent Garden last autumn and a review of a Zurich production last month.
The cast was:
Fiordiligi - Cara O'Sullivan
Dorabella - Anne Marie Gibbons
Ferrando - Gregory Turay
Guglielmo - Mark Stone
Don Alfonso - Robert Poulton
Despina - Lilian Watson
Conductor - Edward Gardner
It is simply beautiful. Right now I am thinking it might just be Mozart's best opera - and this from someone who has asserted for years that Le Nozze di Figaro is the best opera written, ever.
I would say that it is an example of some of the most Mozartianly beautiful writing that Mozart ever wrote, of which Soave sia il vento is really up there as gorgeously sublime.
The orchestra were really quite splendid. Of course, kudos must go to Stephen Higgins on the harpsichord but I was stunningly impressed by the clarinet section. I always feel slightly dislocated hearing Mozart live, because my collection is so dominated by Mozart, so I hear this wonderful clarinet playing and I subconsciously think "Gosh he wrote well for clarinet" then I think "Oh, yeah, of course!" the critics seem fulsome in their praise of Edward Gardner's conducting, with which I would agree. When he appeared on stage to take a bow, I thought he looked like he was on Work Experience from school; the photo and bio in the programme suggest mid-twenties. One to watch, I think.
The production was set in the 1930s. Cosi is a timeless opera which can be set in any period without there being any contradictions or anachronisms. It just allows the directors to have fun with costumes, sets and props. The production allowed the story to develop, and there was, generally, a fair amount of action to keep the attention, if needed, without it being overactive. One aria, Per pietà, ben mio (Fiordiligi) was delivered at the front of the stage, which seemed fitting.
The translation of the Italian into English was superb; not necessarily going for literal translation, but getting some great - and silly - rhymes going and some amusing word plays. All the singers had very good diction, not always guaranteed at ENO, but essential for conveying the comedy of the libretto. The acting was at all times at least good.
I wasn't always convinced by the sets. They were designed partly for easy and rapid movement, relying a lot on 'tram rails' on the stage. This made it strange when you would see half of the living room backdrop coming in from each side, including in each, half a 'fire' which magically fitted together to make one whole fire. And at one stage - whether by design or mechanical cock-up - half the living room and half the bedroom was visible. The costumes were disappointing. The sisters were mainly in drab brown nylon dresses, which looked just about okay on the svelte Anne Marie Gibbons but didn't do much for the fuller figured Cara O'Sullivan. The men's disguises as Albanians were just brightly coloured suits.
As for the singers. A mixed bunch. I think Lilian Watson, although having the smallest part, was the best. A lovely voice and an engaging stage presence. Mark Stone as Guglielmo was very good. He has a voice that I like; I have heard him twice before. Even though I like his voice very much I just think there is something missing - perhaps a little too generic. But I would happily hear him again and again.
Anne Marie Gibbons was also very pleasant as Dorabella.
Unfortunately, the three bigger parts were not so impressive. The tenor I didn't like at all. A very whiny voice, which at times seemed to have just an approximation to pitch. Not pleasant, not beautiful. I would be quite happy if I never heard him again. Sorry.
I had mixed feelings about Cara O'Sullivan. She acted splendidly - probably the best actor on stage, with a strong personality. Technically excellent. But I just don't like her voice. There's a certain type of soprano who I find just to screechy, and she is one of those.
Robert Poulton as Don Alfonso was interesting. Basically, there was nothing in the 'singing' voice that appealed, but in the recitative passages he declaimed splendidly, and acting-wise he did a splendid Leslie Phillips pastiche.
But overall, I would say that Mozart and the orchestra won.
There are seven more performances before the end of June. Last night's wasn't entirely full and with tickets starting at £8, you could do a lot worse for a night out in the West End - with totally gorgeous music.
