The very act of going to an opera requires us to suspend disbelief, and not simply for the implausibility of so many plots. Stories such as that of Mozart’s Così fan tutte, though, with its idea that two sisters could be so easily duped into falling for their sibling’s lover merely through the agency of disguise, are certainly more unbelievable than most. For her new production of the opera at Maintheater Franken in Würzburg, Martina Veh abandons all pretence. Her Ferrando and Guglielmo simply change into different coloured T-shirts and shoes, and Fiordiligi and Dorabella are none the wiser. Similarly, Despina’s impersonations of doctor and notary are just as unlikely to deceive in any real-life situation – anyone can be suggestible to deception given the right circumstances, she seems to say.
Veh is aided in her projection of the story by the design team from fettFilm (Momme Hinrichs and Torge Møller), who have created a staging based around white boxes and use animation to give touches of both realism and surrealism to the setting and the plot. Arias and ensembles are often illustrated or counterpointed on a screen at the back of the stage – a receding ship seen through binoculars during the trio “Soave sia il vento”, for instance, as the women and Don Alfonso wave goodbye to the departing soldiers. The animation also provides the scenery, with a garden full of suggestively shaped flowers and mushrooms during the seduction scenes. And the characters are represented on film, too, most ingeniously when the women try to choose their beau from life-sized, moving poses as they swipe left and right on a smartphone-shaped screen. Among other neat visual jokes is a tribute to the famous Buster Keaton falling wall when the women are first introduced in Act 1.
The playful nature of the staging in general deflects from the plot’s inherent sexism – the men’s discussion of women’s infidelity is presented like a Powerpoint presentation, in effect ridiculing its premise. And despite the cartoon-like environs, the characters emerge as real people, with Mozart’s sublime music fleshing out the detail. Moreover, the very end, with the characters variously showing embarrassment, distress and bafflement as they realise what has been done to them, juxtaposed with the supposedly celebratory closing music, suddenly drew us to the ironic heart and rather unpleasant premise of the whole story.