Hot on the heels of the revived Sir David McVicar production of Mozart’s Così fan tutte at Opera Australia a month ago comes this new production from Opera Queensland, seen here performed by the State Opera of South Australia at Her Majesty’s Theatre, Adelaide. This is a very different production, directed by Patrick Nolan, but it's just as entertaining, if perhaps not fully exploring the work’s emotional possibilities and ambiguities.
In this performance, there was more emphasis on the comic side of things and perhaps less on the moral implications which, combined with a charming efficient set and a modern day setting with a definite Australian emphasis, made for a lot of fun, along with excellent musical values. As the overture struck up, the curtain rose on what could be taken as a Mediterranean setting, with two bedroom pavilions on either side of a fountain, with painted illustrations of classical statues. A crew of yellow-jacketed staff (the chorus) make it clear we are in a sunlit resort, and then the holiday couples in their casual beachwear arrive with their luggage (set and costumes by Elizabeth Gadsby). As the girls unpack, the guys link up with their mate, Don Alfonso, around the fountain.
Despina initially appears in a traditional English-style black dress and white maid's headband, crankily throwing the luggage around, but soon reappears in a smart pantsuit. As the “doctor”, she turns up in bright red hi-vis gear, rejecting a cordless drill in favour of a defibrillator to resuscitate the swooning lovers; as the notary, she sports a conservative accountant’s grey suit. The boys wear modern military fatigues for their farewell to their girlfriends, and reappear in spectacularly daggy long-haired wigs, moustaches and lounge wear. At the conclusion of the opera, everyone more or less shrugs cheerfully in the spirit of the final chorus: “Quel che suole altrui far piangere / Fia per lui cagion di riso.”
The Adelaide Symphony Orchestra was conducted from the fortepiano by Chinese-Australian Dane Lam, who kept it all going with terrific momentum. The choral contributions were effectively performed by the State Opera Chorus both vocally and in their role as hotel staff.
Fiordiligi was sung by local soprano Sky Ingram, singing powerfully with rather a heavy vibrato. “Come scoglio” was quite effectively milked for laughs, while preserving its essential musicality and without going too far over the top. On the other hand, “Per pietà” was delivered with all serious intent, with affecting pianissimi and beautiful phrasing. Mezzo-soprano Anna Dowsley has an equally powerful instrument and sang with rich creamy tone. The girls amusingly differentiated their characters, Dorabella as the more passionate and hence more likely to fall for the new suitor, Fiordiligi more restrained in her relationships. Jessica Dean, also a well-established Adelaide singer, was a clear-voiced and entertaining Despina who wasn't putting up with any.
Due apparently to injury, the previously announced Kyle Stegall was replaced as Ferrando by Adrian Strooper, who seemed to have no trouble stepping into the role, and sang with a ringing tenor voice. Guglielmo was sung by Nicholas Lester with resonant bronze tone, and the world-weary Don Alfonso was well sung and portrayed by Christopher Hillier. This was an excellent ensemble performance which was continuously entertaining and musically fulfilling.
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