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SEEN AND HEARD UK OPERA REVIEW
 

Mozart, Così fan tutte: Soloists, chorus and orchestra of The Royal Opera. Royal Opera House, Covent Garden, London. 10.9.2010 (JPr)

Production Picture © The Royal Opera / Mike Hoban

 

Nearly every film review I read about the current new UK cinema release Tamara Drewe is that it is a ‘laugh-out-loud comedy film of the year’ or given similar praise. I’ve seen the film and it is morally vacuous (‘bad’ would be too harsh), peopled by a number of stereotypes who undergo little character development, its titular heroine sleeps around, has low self-esteem and exhibits few redeeming features. What has this to do with Così? Well, Jonathan Miller’s 1995 production in a similar way expunges most of the traditional farcical elements from the opera and turns it into a psychoanalytical journey of self-discovery where four young people have their true natures laid bear courtesy of manipulation, duplicity and betrayal. This does not allow - in Dr Miller’s world - for any ‘happy ending’ and no reconciliation is possible between the pairs of previously devoted - but now conflicted lovers - and during the final ensemble they stare at each other and then rush from the stage in opposite directions.

Sir Thomas Allen in an affable introduction from the stage reminded us that this opening night was also being broadcast to cinema screens worldwide including one in Russia mentioning how his character Don Alfonso ‘pulls the strings’ throughout the evening and is responsible for all the machinations of the opera’s plot.

It comes as no surprise that Jonathan Miller updates the setting of the opera as this often seems to be his raison d’être. The cream-coloured walls of the performance space (its unfinished state suggests tha ‘set’ would not be an appropriate description) along with the minimalist furnishings of chairs and cushions, hint at Mozart’s eighteenth century whilst costume and props are distinctly present day. The men and women are initially power dressed in contemporary fashion and some other modern-day icons such as iPhones, a laptop and Starbucks are featured. Naturally, Guglielmo claims his ‘portrait’ of Dorabella by taking a picture of her on his phone.

With ‘going to war’ such a delicate issue these days it was good to see Ferrando and Guglielmo in their blue berets as part of a UN peacekeeping force rather than as front-line soldiers. It seems that Miller - who returned to oversee this revival – continues to update his staging. One thing that he hasn’t changed merely for comic effect though, is the tattooed hippy biker disguises for Ferrando and Guglielmo: their Easy Rider outfits now seem woefully outdated. In Act II the setting does allow Fiordiligi and Dorabella to go from designer chic to biker chick and this is one of the evening’s few really funny visual moments. To be honest when the two ‘guys’ come on to serenade their ‘gals’ at the start of Act II I thought they were going to burst into a chorus of ‘Y.M.C.A’ since they looked so much like two of the Village People.

Fiordiligi and Dorabella are not two lovable ladies who make fools of themselves because ‘women are like that’ but blonde and very superficial airheads who get what they deserve. We never really care what happens to them … and their male counterparts are not that much better. Miller uses his acute observational skills to bring us four people who we can see in the City of London every day … or even sitting near to us in the opera house. Miller’s Così is heartless and at odds with Mozart’s sincere and heartfelt score.

Don’t misunderstand me, there are a few ‘classic’ moments during the evening but not enough to sustain the nearly three hours of music that Mozart gives to the slim plot. I loved the awkwardness of four young people left alone with together at the start of Act II, not one of them quite knowing how to break the awkward silence between them. After a long pause the conversation begins with some inane ‘nice weather’ chit-chat and watching, we squirm in our seats because we all recognise the scenario. Miller is a master at handling these intimate moments.

I saw Dr Miller heading backstage at the interval and wondered whether he gave the ensemble ‘a half-time roasting’ because Act II was a significant improvement on what seemed to be an under-rehearsed first Act. Thomas Allen was a consummate stage presence and comic actor throughout even if his voice sounds a shadow of its former self. In the recitatives - and at times elsewhere - he seemed to be speaking the Italian on pitch rather than singing his role. I warmed more to Maria Bengtsson‘s Fiordiligi after the interval; I thought her Act I Come scoglio sung too breathily and choppily for my liking and she was needing visible support from her conductor to get through it. Later though her Per pietà was more relaxed. Jurgita Adamonyté’s sassy Dorabella was the stronger acted and more consistently well sung of the ladies throughout the evening but the consummate Mozart stylist on show was Stéphane Degout‘s refined baritone as Guglielmo. Almost his equal – but not quite – was Pavol Breslik‘s Ferrando, who exhibited an elegant tenor, although a little unvaried in tone. Even so, anyone who can still sing whilst doing press-ups is a force to be reckoned with. Together – and for as much as Miller’s cynical production would allow - they both had great charm and comic timing and outperformed their ladies.

Also ideal for her role was Rebecca Evans as Alfonso’s co-conspirator Despina, another captivating singer with a wonderful gift for comedy. She reminded me of a younger brunette version of Barbara Windsor and she seemed to have as much fun as the quack doctor and notary, as we did in watching her.

I suspect Thomas Hengelbrock is more interested in the Steffani opera Niobe he will conduct following this Mozart revival. This was however a notable Covent Garden debut and I look forward to hearing him in something more substantial in the future. He conducted with authority, confidence, energy and a period lightness of touch, giving - through the subtly detailed accompaniment by his orchestra - a seamless quality to the score. This was not just a series of ‘set pieces’ as it might be in others’ hands.

With the majority of the forces of the Royal Opera currently touring Japan, I suppose logistically sensible productions like this were required to start the new season. However beginning with the seventh revival of a one-set production is starting with a whimper and not a bang. Nevertheless the familiarity of the opera and the staging did nothing to deter a seemingly full-house - who were paying up to £200 a ticket – from trying to enjoy themselves; though it must be admitted that the applause at the end was less than ecstatic and everyone was soon on their way home.

Jim Pritchard

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