Composed by W. A Mozart. Libretto by Lorenzo DaPonte
A production that is deeply committed to the writers’ original intentions; this is a feisty and funny exploration of love and fidelity, heartbreak and loss
Reviewed by Claira Prider
Joan Sutherland Theatre, Sydney Opera House
Until 17 August 2024
Tickets: https://opera.org.au/productions/cosi-fan-tutte-sydney/
Set in early 1900s Italy, Cosi Fan Tutte is the final of Mozart and Da Ponte’s comedy trilogy and can be described as a chaotic rom-com. Two guys are boasting about their lovers until a bitter old philosopher assures them ‘cosi fan tutte’ (all women act the same) and convinces them to test their lovers’ fidelity. After pretending to go to war, the boys arrive at the grand country home of their fiancés, disguised as Albanian soldiers. Reminded by their maid Despina that you only live once, the sisters are encouraged to stop taking life so seriously and to have a bit of fun before their men return from war. Cosi Fan Tutte is often criticised for being a misogynistic, farcical romp, however McVicar’s production focuses on the manipulation, cruelty and loss.
Set and Costume designer Moritz Junge creates a sun soaked, grand, rich and colourful world. Between tall stone walls with gold trimmed archway entrances, the work takes place in and around the majestic country villa of sisters Fiordiligi and Dorabella on the waterfront of a glittering Bay of Naples. Walls are flown in and out which make for extremely effective and non-distracting quick scene changes.
Cosi Fan Tutte, Sydney Opera House (2024). Photos by Keith Saunders
David Finn‘s evocative lighting clarifies and reinforces the plot, and moments that depict multiple settings concurrently are clearly readable such as a scene which depicts characters inside the home as well as outside by the lake.
Nardus Williams creates an elegant and understated Fiordiligi. Making the rollercoaster coloratura sound effortless, she maintains a beautiful legato line through extreme register changes with ease. While vocally stunning, I find myself wanting to see bolder and clearer choices in the characterisation, particularly in her ‘Come Scoglio’.
Helen Sherman’s darker, warm tone in the role of Dorabella compliments Williams’ sound perfectly as she brings a frantic mischief to the role. Both sisters embody somewhat anachronistic mannerisms and movements which at times detracts from the vocal performances.
Alexandra Oomens is a dynamo on stage in the role of the slightly deranged maid Despina. Her vocal and physical performance is strikingly funny and richly detailed as she returns to the stage in different disguises, as the quack doctor and as the notary.
Richard Anderson gives a very Don Giovanni-esque interpretation of the character Don Alfonso, as he reprises the role from Opera Australia’s 2016 premiere of the production. His ‘Soave sia il vento’ trio with the Williams and Sherman is sensitive and grounded, a musical highlight of the evening.
While opening night was bursting with excellent individual performances, together as an ensemble the group feel tentative, leaving room for growth of greater cohesive depth.
New Zealand tenor Filipe Manu is a charming and tender Ferrando. His heroic timbre is expressive and lush, a perfect match for the characterisation. Meanwhile, Nathan Lay‘s interpretation is witty and heartfelt as Guglielmo, giving a well-crafted physical and vocal performance in his lead role debut for Opera Australia.
While opening night was bursting with excellent individual performances, together as an ensemble the group feel tentative, leaving room for growth of greater cohesive depth. Led by Zoe Zeniodi in her debut conducting for Opera Australia, the orchestral ensemble delivers a delightful chamber orchestra accompaniment with piano forte and the Australian Opera Chorus.
McVicar has restored passages from the original score in this production which are usually cut, ensuring fidelity to the text. The production provides a thought-provoking examination of seduction, trust, lust and love. While the plot presents a misogynistic view of love and women and is filled with moments of slapstick comedy, McVicar’s direction makes for a captivating and unpredictable production, reinforcing that it is as much a story of loss. The surprising ending leaves the audience with a lingering discomfort and sense of unease at Mozart and DaPonte’s creative and chaotic genius.
Cast & Creatives
Conductor Zoe Zeniodi
Director David McVicar
Revival Director Andy Morton
Set and Costume Designer Moritz Junge
Lighting Designer David Finn
Fiordiligi Nardus Williams
Dorabella Helen Sherman
Guglielmo Nathan Lay
Ferrando Filipe Manu
Despina Alexandra Oomens
Don Alfonso Richard Anderson
Opera Australia Orchestra
Opera Australia Chorus
