Jan Philipp Gloger’s production of Così fan tutte is back at the Royal Opera House for its fourth revival in eight years. Often considered ‘problematic’, with its gendered take on fidelity and morals, it nonetheless contains some of Mozart’s most exquisite music, which is somewhat at odds with its frivolous plot. Can implausible disguise and farcical antics illuminate real truths about human behaviour and relationships?
Gloger has a clever take on how to deal with the flimsy disguise that is key to the whole intrigue here – the ridiculous moustaches are supposedly seen through early on by the sisters, giving some agency to their actions, although this is not actually made explicitly clear (did the moustache fall off by mistake?). There is also a many-layered front of house/backstage game at play. The cast emerge from the auditorium during the overture as we – and they – watch curtain calls at the end of a performance. Then throughout, sets mix the backstage with a bar scene, a period rural stage set and a railway station – complete with on-stage technician pulling the rope to send the train on its way. And there are knowing in-house references, such as the Paul Hamlyn bar and the iconic red programmes held by the cast and chorus at various points. But is it all a bit too clever? The point is presumably that we and they are all in on the act (literally) – “Così fan tutti”, rather than “tutte”. Nevertheless, one is left wondering why exactly the cast have ended up backstage and to what end.
However, the frequent set changes bring constant interest, with clever use of different levels of staging, and strong singing and acting performances from all make this great fun, if one abandons hope of it making much sense. Golda Schultz was the clear standout, negotiating effortlessly Fiordiligi’s extensive vocal demands, particularly in “Come scoglio”, with its massive leaps and a range of over two octaves. But it was also in her characterisation as the more complex of the two sisters, ostensibly more faithful but ultimately tormented before finally wavering. Yet together with Samantha Hankey as Dorabella, their playfully comedic toying with the clumsy attempts of the disguised men to woo them cut across the heartfelt content of Mozart’s music, ever the tension here. Hankey contrasted with Schultz well as the more volatile of the sisters, bringing a slightly hysterical feel to “Smanie implacabili”.
Returning as Ferrando, Daniel Behle displayed a beautifully lyrical tone, and played the less bombastic of the two men convincingly. In “Un’aura amorosa” he demonstrated incredibly delicate control at the top, as well as delivering a powerful sound when required. “Ah, lo veggio” had similar passion, as did his Act 2 duet with Fiordiligi. However, despite a clearly powerful voice, in ensembles he was sometimes lost a little in the balance. Andrè Schuen's Guglielmo was suitably cocky and self-assured, with full-toned swagger throughout, bringing great wit to “Donne mie la fate a tanti”.
Jennifer France’s Despina was full of fun, with great comedic timing and clowning as the disguised doctor and notary, and was highly nimble vocally, with some cracking top notes too. As Alfonso, Gerald Finley made a fine puppet-master, even directing the offstage chorus and marshalling the extras to play their part in the subterfuge. His variety of vocal tone brought humour and bite to the role, although even he didn’t appear entirely comfortable with the portrayal of Don Alfonso as overly ‘handsy’ with the backstage staff.
The Royal Opera Chorus were on fine form, with some subtly raunchy partner-swapping in the background, as well as delivering their pithy choruses. Alexander Soddy conducted with pace and precision, and there was some particularly fine horn and woodwind playing. Balance in some of the ensembles could yet merit from attention, and the glorious trio “Soave sia il vento”, here set in the railway station, although beautifully sung, suffered from a slight mismatch in tempo.
Fine performances from cast, chorus and orchestra, and a fun production, if we don’t take the weight of the meta ambition too seriously.
