Cosi Fan Tutte
Cosi Fan Tutte by Wolfgang Amadeus Mozart holds a special place in my heart having performed as Roy in the famous Australian play Cosi which explores the patients in a mental asylum during the 1970s rehearsing their own version of this iconic opera!
The opera was performed in 1790 and was one of three written and produced operas in the space of four years. Instead of the usual 7 scenes over 2 acts, set and costume designer Elizabeth Gadsby has set the opera over two acts, in present day, in a villa on the coast of Italy.
The plot is simple, perhaps the simplest in the entire operatic repertoire. In response to a bet, the two men of the couples test the “fidelity” of their fiancées by, in disguise, attempting to seduce each other’s fiancée. They hope to fail (thereby demonstrating the loyalty of their own fiancée), but, unfortunately, they both eventually succeed, and their understanding love and commitment put to the ultimate test.
Queensland Opera Director Patrick Nolan has successfully brought out the farcical elements of this opera buffa and turned Act 1 into an hysterical romp, particularly after Guglielmo and Ferrando disguise themselves as playboys to woo the girls. Every square centimetre of the stage is explored, and Nolan and his actor/singers have developed well rounded, believable characters that are a delight to watch.
The Act 1 set is luscious, featuring a central fountain and two villas that can be screened from the audience by sheer drapes. The set is painted in the trompe-l'œil style with hidden doors. In Act 2 the villas of the first act disappear, and all that is left against the black backdrop is a single fountain, whose function changes from a simple set piece to a symbol of sexual tension and a prop for prompting the character’s inner thoughts.
Conducted by State Opera’s own Artistic Director Dane Lam, the production features the Adelaide Symphony Orchestra, a musical force in their own right. The balance between singers and orchestra was superb and a perfect complement to the voices.
Bernie Tan-Hayes’ lighting accentuates the humour of Act 1 and tension of Act 2. The string lighting in Act 2, and how it is used by the actors, is pure genius.
Eliza Lovell’s intimacy coordination deserves a special mention as seduction is up front and personal in this production. It is a credit to Lovell and the performers that the sexual advances look so effortless.
Sky Ingram’s Fiordiligi is glamour personified coupled with the voice of an angel, particularly in ‘Come scoglio’ which showcases her incredible range. She looks glorious with blonde hair, but I must confess I miss her fiery red hair.
Nicholas Lestor’s Guglielmo is cheeky, commanding and uses his rich baritone voice to advantage, particularly in ‘Non siate ritrosi.’ His comedy work with Adrian Strooper endeavouring to impress the girls with their sexual prowess is hilarious.
Anna Dowsley’s Dorabella is tempestuous, sassy and a perfect foil to Fiordiligi. She has a lush powerful mezzo voice, well suited to ‘É amore un ladroncello.’ Her scenes in the fountain in act 2 are a joy to watch.
Adrian Strooper (a last-minute replacement for Kyle Stegall) is a hoot as Ferrando, particularly his strutting and sexual flirting when in disguise. His ‘Ah lo veggio’ from Act 2 is beautifully controlled and a highlight.
Christopher Hillier’s Don Alfonso is a master manipulator with a powerful bass voice. He could easily become a standard opera villain, but Hillier’s interpretation has more heart and wisdom.
Jessica Dean’s Despina, maid, villa manager, doctor and notary demonstrate her versatility to play almost any role. I waited for the famous ‘magnet’ scene and was not disappointed. It had the audience in fits of laughter.
The State Opera reduced chorus (with Anthony Hunt as Chorus Master) become the villa staff ensuring the opera progresses smoothly and adding their own voice strengths when needed.
This is a must-see production, especially the ‘boys on bikes’ scene around the fountain which has Guglielmo and Ferrando on bicycles cycling the chorus and fountain while singing!
Cosi fan Tutte is truly “the music of the spheres” in every way. State Opera’s production in conjunction with Opera Queensland is a perfect example of how to bring opera into the 21st century without losing the original intent. Bravo State Opera and Opera Queensland!
Barry Hill OAM
Photographer: Andrew Beveridge
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