Damiano Michieletto’s 2011 staging of Mozart’s Così fan tutte is one of the most enduring and entertaining production in the New National Theatre Tokyo’s repertory. Dubbed the “Camping Così”, the setting is a campsite named “Camping Alfonso”. The set (which feels slightly retro) consists of a bar, reception cottage, barbeque area, caravan, tents, campfire, forest, and even a small pond (in Act 2), all placed on a revolving stage. Don Alfonso is the owner, Despina is the waitress, and the two couples are on a camping holiday.
The campground setting may seem absurd, but Michieletto has cleverly thought it through. Not everything in the plot makes sense (i.e. why would Ferrando and Guglielmo be whisked off to war from a camping holiday?), but some scenes fit surprisingly well in this outdoor setting, especially Fiordiligi’s poignant aria “Per pietà”, where she sings about her desire being “hidden in the shady groves”, or Despina’s comic turn as a paramedic with concerned fellow campers (chorus) looking on. One could say that by setting the opera outdoors, the “game” aspect of the plot works particularly well, but we lose the “philosophy” and the “All women are like that” moral becomes less effective (possibly intentionally).
The most enjoyable feature of this revival, directed by Yasuhiro Miura, is that the four singers playing the two couples are equally terrific, not only in their solo arias but in the ensemble numbers, which is a hugely important component of Così. The production also tests their acting abilities. For example, in the opening scene, Ferrando has to prepare a barbeque and Guglielmo has to sing while chopping wood. Later, Fiordiligi has to sing her challenging aria “Come scoglio” atop the caravan, during which the two guys (disguised as members of a motorcycle gang instead of “Albanians” in this production) have to put up their tents. But the singers pulled these scenes off brilliantly, and there was clearly a good rapport among them.
Fiordiligi was sung by Serena Gamberoni, who was playing Despina last time I saw her in 2019 at Covent Garden, and she has sung Dorabella in the past too. Her Fiordiligi was proud and feisty, and she expressed the character’s wavering emotions with sensitivity and depth. Gamberoni's soprano is light and clear with a sonorous high register. She didn’t quite have the lower notes in “Come scoglio” but what she lacked she made up with intelligence. Mezzo Daniela Pini returned to the role she created here in 2011, and her Dorabella is still youthful and alluring. Her dark and resonant voice blended well with Gamberoni and the other voices, and her duet with Takaoki Onishi's Guglielmo, when she succumbs to his advances, was charming and fun.
Making his NNTT debut, Spanish-born tenor Joel Prieto sang effortlessly with lyricism and elegance, making an ideal Ferrando. His pain when he found out that Dorabella had betrayed him was clear, and one could see that he was spurred on by revenge to seduce Fiordiligi. Onishi, a fast-rising Japanese baritone, had a strong stage presence as Guglielmo and is a born actor (especially in the comic moments). His voice is mellow and stylish and he was equally at ease in arias and ensembles.
What I missed in this staging was the scheming and manipulative side of Don Alfonso in the proceedings. After all, it’s his wager that sets off the entire plot. Bass-baritone Filippo Morace sang the role ably, but his voice lacked the depth and gravitas one has come to expect in this role. This may be intentional on the director’s part, and he also portrays Alfonso and Despina as being drawn to each other. Kanae Kushima’s Despina was shrewd, but less of a caricature and more human. Her notary impersonation was fun.
In the pit, Norichika Iimori conducted the Tokyo Philharmonic Orchestra. He previously appeared at NNTT during the pandemic in Britten’s A Midsummer Night’s Dream, which was highly acclaimed, but normally he is more of a symphonic conductor, and this showed in his solid handling of the orchestra. His approach is neither Romantic nor period-style, but we could have done with a little more rhythmic verve and forward momentum . The wind section brought out Mozart’s genius writing beautifully, especially oboes and clarinets. Also special mention to Miki Onodera on the harpsichord (playing from a slightly raised stage on the side of the pit), whose continuo was stylish and inventive, but never over-busy.
And Michieletto’s take on the “moral” ending? As expected in a contemporary setting, it’s not a happy one, but one that is probably more convincing for a modern audience.
