The cast were definitely the reason why I watched this production in the first place, as well as my love for the opera. And while not one of my favourite Cosis or one of my favourite opera productions, it was refreshing after seeing non-traditional productions that don't work for whatever reason to see one that does. I admit I am more a traditionalist when it comes to opera, but I do not mind a concept production as long as the staging is in good taste, is appealing on the eyes, you understand what the stage direction is trying to do and also as long as it is performed well.
On the most part, this 2002 production of Cosi Fan Tutte succeeds. There are a couple of instances where the staging does give the sense that the cast didn't quite know what to do with themselves like Ferrando writing an F in magic marker on Dorabella's bra instead of her being given a locket, something I didn't see the point of in all honesty. Later, Dorabella is given a locket, but it is a rather plastic one, almost like a toy, it just seemed cheap to me.
However, the good things in this respect largely outweigh any reservations. The costumes and sets, whether you prefer traditional or not, are colourful and creative, while the stage direction manages to balance out the comedy and drama effectively, which in turn are funny and sometimes touching. I did understand the concept, the production values are clear from that standpoint from minute one, and the stage direction even with a couple of touches that could have benefited from more of a traditional touch, and also the beginning for my tastes was a little too square, is in good taste. Not to mention packed with action, everything keeps moving and at an energetic rate, the Sextet was hysterical and wonderful on all counts.
Technically it is fine. The video directing is fine, no disconcerting close-ups, focusing on somebody else when someone is singing and no showings of TV screens(having seen 2003's Tannhauser very recently, you'd understand why I was dubious here). The picture quality is sharp and clear, making the production values bright and colourful in alternartive to cheap and garish. The sound is very good.
Musically, the production is mostly outstanding. My only reservation was Daniel Barenboim's conducting sometimes in Act 1, the tempos are quite slow and broad and considering the energetic business on stage it did seem a little out of sync. Act 2 fares much better though. The orchestra is always buoyantly done, while the recitatives show sensitive accompanying and Soave Sia Il Vento and Il Core Vi Dono have the pathos they should.
Dorothea Roschmann's Fiordiligi is marvellous. Charming and never silly, she wastes no time in emphasising the character's romantic longing and the devil-may-care attitude also. Her singing is bright and of great warmth, Come Scoglio is testament to this. As Fiordiligi's sister Dorabella, Katharina Kammerloher is every bit as good. She is funny and zany with inspired deadpan delivery, yet in Il Core Vi Dono she softens and is consequently warm and touching. She sings beautifully and blends very well with Roschmann.
Werner Gura in the role of Ferrando is ardent and positively charming. He shows great beauty of tone in Un Aura Amarosa, and he and Roschmann together are heart-rending in Fra Gli Amplessi, a duet that always brings me to tears and does here. He and Hanno Muller-Brachmann are not quite on the same level as Roschmann and Kammerloher(maybe because the roles are abridged slightly, nothing though that cries of why was this left out) but are still very impressive, Ferrando and Guglielmo in disguise never fails to amuse. Muller-Brachmann is a lively and charismatic Guglielmo, his comedy is done with great vitality and I liked his sympathetic side in the ensembles.
As for the roles of Despina and Alfonso, no disappointments there either. Daniela Bruera is very funny as Despina, especially in the Il Dottore guise, and sings with agility. Despina is more malicious than usual but this works well within the concept. Roman Trekel's Alfonso was a real standout, some may find him on the stiff side in terms of posture but that does not affect his sonorous singing or how engaged he is with the drama. While scheming and cynical, almost like a manipulative puppet-master detached from the action, Trekel does bring a certain world-weariness and wisdom to the role. He is thankfully not overly-wicked or sadistic like Bo Skovhus was in the 2009 production.
On the whole, a very good Cosi, a concept production that works. And on a final note, I liked the ambiguous ending and found it respectful to Mozart. 8/10 Bethany Cox
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