Cosi Fan Tutte

Reviewed Tuesday 24^th November 2009

Nicholas Hytner's production of Così Fan Tutte has been reworked since its 2006 debut and this revivial is most definitely a Glyndebourne crowd pleaser. The loyal audience at Milton Keynes signalled their approval long and loud at the end of last night's performance.
This opera about deception, self-deception, morals and fidelity, labelled 'immoral' by Beethoven and considered misogynistic by others is now considered to be one of Mozart's finest works. Although the title translates as 'Typical women' neither sex comes out of this narrative particularly well!
This production has received very favourable reviews elsewhere and Hytner’s revivial is an elegant one aided by Ashley Dean’s sophisticated staging. Outstanding as ever is the orchestra, this time under Patrick Lange’s perfect control; this is the highlight.
The strongest performances come from Riccardo Novaro (Alfonso) and Simona Mihai (Despina). These two, and their dark plottings, pin the production together. Novaro plays Alfonso with an air of menace and does not overplay the humour; he clearly enjoys causing disharmony and distress. Nevertheless, he is charismatic and that coupled with his rich and powerful voice makes Alfonso an attractive character.
Mihai, as Despina, has a pure, fresh quality to her voice, and is a perfect match for her co-conspirator. She is superb in portraying the cynical, no nonsense side of her character and contrasts well with the two sisters, played by Gillian Ramm (Fiodiligi) and Lucia Cirillo (Dorabella).
These two are also excellent, both in voice and as performers, and play their parts with a mix of naivete and gentle sexiness at the beginning. Their character development as the story progresses is well managed and they are faultless in their vocals.Cirillo expresses herself very well in the comedic role, with Ramm taking the role of the seemingly more 'sensible' sister. They both are superb in their scenes with their lovers, Andrew Tortise (Ferrando) and Jacques Imbralio (Guglielmo).
First to Tortise who is not as strong as the others on stage. His voice does not seem quite a match and his acting is so awkward at times that his character is not consistently believeable, upsetting the balance and force of the drama on stage. I found my eye drawn to him in the scenes with Guglielmo and their lovers but not for the right reasons. As he is not convincing as the lovestruck Ferrando, the scene in which his lover’s infidielity is exposed – a scene which should be painful to watch as his anguish, despair and anguish is revealed – is rather weak when it should be a pivotal point.
Imbralio, on the other hand, is utterly convincing throughout. Beautiful in voice, perfect in his performance, convicing as both a bit of a cad
and a persuasive lover.
Overall this a solid and strong revival; superb orchestra as ever, elegant staging, and overall perfomances which are convincing and engaging.

Playing MK Theatre Friday 27th Nov then Plymouth, THeatre Royal on Tuesday 1st and Friday 4th Dec

Reviewed by Louise Winter on behalf of Catherine Brian