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Many people
are dubious about the value of "modern" productions of the
great classical operas, but few could have failed to be charmed by
Calixto Bieito's sparkling reinterpretation of one of Mozart's greatest
operas. Setting the tale of love and intrigue in 1930's Italy, with
a simple set enlivened by mirrored walls and hanging lanterns, was
a creative masterstroke, allowing the humour of the libretto to speak
plainly, whilst also providing a suitably bathetic atmosphere for
the more melodramatic moments. In an opera with such a long second
half as this, the typical adaptability one associates with WNO's staging
is of great benefit in keeping the momentum of the action, and it
is telling that this Cosi as opposed to so many others, never got
close to flagging.
Not that the energy of the performance can be wholly attributed to
the set. The rhythmical drive from the orchestra, playing at generally
swift tempi, also grabbed the audience's attention and refused to
give it back. Solid string playing was supplemented by what must be
one of the best woodwind sections in British opera and thrilling brass
playing which, given the favourable orchestral bloom of the Apollo,
combined in a perfectly homogenised sound. Whilst there was the odd
wobble in ensemble, perhaps as a result of the idiosyncratic style
of conductor Antony Walker, this was orchestral playing of the highest
standard - a palette of musical colours which provided excellent accompaniment
for a score that oscillates between high comedy and grand drama.
It's a pity that not all the singers could match the quality of their
accompaniment. Mark Wilde, standing in for an indisposed Paul Austin
Kelly as Ferrando, was significantly underpowered at times, most noticeably
in his beautiful but underwhelming aria in Act Two. His fellow suitor,
Neal Davies's Guglielmo, showed a greater dynamic and expressive range,
but seemed to have misjudged the balance with the orchestra in some
of the more intimate moments. The same cannot be said for the sopranos,
whose singing was exemplary. Alwyn Mellor was wonderfully clear in
tone, and utterly expressive at every point, though most entrancingly
in her Act Two monologue. She was supported by spirited singing from
Nora Sourouzian as Dorabella, and an appealing, though unusual, Despina
from Linda Kitchen (whose voice rang out with a tone of which Barbara
Bonney would have been proud). The real star, however, was Donald
Maxwell's Don Alfonso, an excellently judged performance, which brought
out the dichotomy between the appealing humour of the character and
his intrinsically despicable attitudes. Maxwell sang with great authority,
and brought a gravitas to the music which belied his outer levity,
his delivery of the title "Cosi Fan Tutte" (that's what
all women are like) was flawless.
Well worth a look, then, this production fizzed along at a startling
pace, letting up only for those great woe arias which punctuate the
score. Whilst one could ask for a few slight improvements in casting,
with a singer like Maxwell to hold it all together, this Cosi could
hardly have gone wrong.
Greg Sanderson,
21.06.02
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