JADAR

★★★★☆

With a brief Andante, followed by a fast, high-spirited Presto in sonata form, Don Alfonso is standing onstage with this soft, scurrying overture. After the second oboe phrase, hearing the ‘Cosi fan tutte’ phrase, the audiences know we are in the right place to delve into the vagaries of love, loyalty and the unpredictable nature of human relationships.

As the third instalment in the illustrious trilogy of operas crafted by Wolfgang Amadeus Mozart and his librettist Lorenzo Da Ponte, Cosi fan tutte stands out as the most whimsical and light-hearted comedic work (opera buffa) among them. 

The title, which is almost impossible to translate, is usually read as “Women are like that” or “They’re all the same” (by Opera North).

Set against the backdrop of a seemingly simple bet, the narrative unfurls the journey of two couples subjected to the ultimate test of fidelity, leading to a labyrinth of emotions, identity crises, and the questioning of societal norms on love and commitment. The performance by Opera North, Tim Albery’s production, was nothing short of spectacular, with a cast that depicted the entire story and brought Mozart’s complex characters to life with palpable emotion and vocal brilliance.

Don Alfonso (Quirijn De Lang), a sharp-witted philosopher, centres the whole story. De Lang’s portrayal is nuanced and powerful, enriching the character with depth and authority that echo across the stage. His voice, strength, subtlety, precise timing, and emotive delivery deepen the story and captivate the audience. Notably and interestingly, his deep connection to Cosi fan tutte began with his role as Guglielmo at Opera North, showcasing his versatility and deep understanding of the opera.

In this opera, the six characters have their own merits, and none can be missing. Gillene Butterfield brings sharp intellect and spirited independence Despina, a “lower class” servant, showcasing the character’s savvy and resilience.

The two sisters, Fiordiligi (Alexandra Lowe) and Dorabella (Heather Lowe), offered a captivating blend of vocal brilliance and dramatic prowess, especially a few arias by Dorabella, showing her impressive skill.

During the Act 1 trio, ‘Soave sia il vento’ (May the wind be gentle), the audience experiences a moment of transcendental beauty as the sisters and Alfonso bid farewell to the soldiers. This scene, underscored by the harmonious blending of their voices, momentarily transports us to a realm beyond the confines of the stage.

The two gentlemen, Ferrando (Anthony Gregory) and Guglielmo (Herry Neill), present an equally compelling showcase of vocal talent and dramatic depth, complementing the nuanced portrayals of their female counterparts. Every actor has super skills and plenty of enthusiasm.

Still, personally, due to the overlapping words in ensembles, rhythm, tempo and even the sounds of individual words, some punchlines are not easy to capture.

The orchestra, conducted by Clemens Schuldt, delivered an exceptional performance, showcasing their impeccable form and precision. This dynamic interplay between the orchestra and the stage amplified the immersive experience of the performance, allowing the music to envelop the audience entirely.

Tobias Hoheisel’s stage and costume designs serve as a “novel” garnish to the production. Veering away from the traditional backdrops of seasides and gardens outlined in Lorenzo Da Ponte’s original libretto; this setting takes a boldly experimental turn, positioning the acts within a limited geometric space akin to a camera obscure, featuring a prominent lens at its centre to imply the characters are being scrutinized, akin to laboratory specimens.

While some might argue that this inventive embellishment adds an overly rich layer to the classic narrative, the watchful eye of a fixed CCTV camera introduces a contemporary twist to the classic tale. Furthermore, as the opera unfolds, the female protagonists’ attire transformation mirrors their moral journey, highlighting the development of their identities visually strikingly.

This production questions Enlightenment values by exploring human emotion and challenging perceptions of love and fidelity. When Classicism was giving way to Romanticism, we can’t exactly say whether this is just a sad and misogynistic story or this hints that guys are equally duplicitous, as it turns out, and pretty vain with it. If fidelity has to be tested by temptation and disguise, what is the meaning of real love in reality? There is no need to mention mutual trust as the solid foundation. After all, keeping “Don’t count your chickens” in mind in any romantic relationship is quite miserable.

Opera North’s Cosi fan tutte offers both onstage joy and post-show reflection. It goes beyond traditional opera to foster deep contemplation on love, fidelity, and human nature. As the final notes linger, the audience retains not just memories of excellence but also a profound sense of introspection, highlighting art’s capacity to move, challenge, and enhance our lives.

Opera North’s Così fan tutte (Wolfgang Amadeus Mozart) tours the UK until April 6, playing at the Lowry (Lyric Theatre) until March 23.

Photo: James Glossop