Welsh National Opera has left behind Così Fan Tutte for some time. We last saw it over 10 years ago, given a pleasant, 1950s seaside setting; in this new production from Max Hoehn, St Trinian’s is blended with the summer of love.
We enter a school from a lost era, seeing muddy rugby kits, high-tempered fade haircuts and brogue dresses. Cutouts of genitals, plants and nudes litter the stage at the start, as the school vibe is thrust upon us. The other name for the opera is The School For Lovers, and this literal embracing of the name is one of several missteps.
This is not my favourite Mozart – I doubt many would say it’s theirs as well – and this production just doesn’t feel all that rounded or funny. Little jokes and set-pieces get titters, but belly laughs are conspicuous by their absence. Così Fan Tutte is long, as well – a good three hours – and we spend this time just with the two couples: Fiordiligi, Dorabella and their partners Guglielmo and Ferrando.
The politics of this opera are stonkingly archaic, the plot a device to trick the ladies into cheating on their lovers, as the men leave and then dress up as keen suitors. Not all goes to plan when the men realise the error of their ways, as their actions have led to disaster. Can the couples ever recover from the lies and deceit?
Conductor Tomáš Hanus is always wonderful, leading the orchestra in the score with grace and wit. A fortepiano replaces the harpsichord of before for the recitative moments, and the chorus – clad in uniforms – have little to do other than skip about and act like children. Lighting, courtesy of Mark Jonathan, has a heavy reliance on spotlights in the second act, as things start to get sticky.
Thankfully, the singers shine in an otherwise disappointing staging. Sophie Bevan as Fiordiligi has such a resplendent voice: her arias remain a highlight, never too showy. Kayleigh Decker as Dorabella also wows with a warm delivery, some swift physical motions and good timing standing out. The gents might not rival the ladies, but James Atkinson and Egor Zhuravskii, as Guglielmo and Ferrando, come through with their own arias and ensemble moments. Their hippy garb, on the other hand, evokes The Mighty Boosh, and we’re still debating the sexual politics as regards quite how old these characters are meant to be.
Rebecca Evans’ Despina is safe – a nosey dinner lady who loves a dress-up – and she still has the voice, firm and sensual. Squeaking and muttering while in her disguises, it’s always great to see her back on the Welsh stage. José Fardiha’s Don Alfonso is complicit to the young men’s scheme, his baritone quite smooth for the most part notwithstanding a few gruff flickers. Though his trio, with the young ladies, after the men have departed (pretending to sail away) was quite ravishing, the chalk boat on the board was meshed with lapping waves on video – one of the prettier ideas of the night.
Così Fan Tutte is one of Mozart’s four famous operatic works which does not feature a knockout aria. While its piffy overture has some value, both the length and the lack of worthwhile supporting characters ultimately made matters drag.
Così Fan Tutte, Wales Millennium Centre, Cardiff Bay, Sat 24 Feb.
Also on Sat 2, Wed 6 and Fri 8 Mar. Tickets: £17-£79/£5 under-16s. Info: here
Venue Cymru, Llandudno, Thurs 14 + Sat 16 Mar. Tickets: £18/£56/£8 kids. Info: here
words JAMES ELLIS
