COSI FAN
TUTTE
Clonter
Opera
CLONTER
Opera, the ‘Glyndebourne of Cheshire’, rarely fails to offer some of the
brightest rising stars of the moment among its singers. Mozart’s comedy, Così
Fan Tutte (‘So Like A Woman’ in this English language version), is the ideal
piece for them, needing six of the best and no more.
This time,
however, there was a lot more, in the production by director Harry Fehr. His
lively ideas brought an early Mozart opera to life at the Buxton Festival two
years ago, and his inspiration for Così Fan Tutte was derived from its
sub-title: The School For Lovers.
So he set
the whole thing inside a secondary school (motto: Schola Amantium), with the
two girls and two young men who at the heart of it wearing their school
uniforms, sitting at their school desks, eating their school dinners and
(hilariously, in the case of the girls) opening up their school lockers to
reveal their secrets.
Alfonso,
the elder statesman of the original, became a prefect, and Despina, the maid,
was the school orderly (and dinner lady). Eleanor Wdowski’s ingenious but
compact set was all part of the ingenious picture (as was Alexandra Stafford’s
lighting).
Sung in
Jeremy Sams’ English translation, and with spoken dialogue for much of the
conversational sections, it was very funny. Not just because of the concept,
which did break down eventually, as you can hardly imagine schoolgirls today
suddenly donning bridal veils and signing marriage contracts – but mainly
because of the characterizations shown by the cast.
This is
where the originality of the direction was met by the stagecraft and vocal
skills of the singers. I have little doubt that we shall be hearing a lot more
of the performers who were on Clonter’s stage in this production (as has been
the case with many of their predecessors for over 40 years now).
Elizabeth
Skinner (Fiordiligi) has a truly remarkable voice, secure in pitch and powerful
throughout a wide range – shown, as needful, in her two big showpiece arias.
Kamilla Dunstan (Dorabella) matched her for tone, strength and accuracy, and
their duets were a joy to hear.
Dominic
Walsh (Ferrando) is a seriously impressive young tenor, and the experienced Andrew
McTaggart (Guglielmo) again made a strong impression, both acting as cleverly
as the archetypical teenager girls.
Nick Dwyer
(Alfonso) has a finely developing baritone, and Joana Gil brought sparky
sweetness to Despina – and had to transform into complementary healer, all
bangles and crystals, and smart-suited female lawyer, as well.
The
exceptional musical quality of the show was again in the capable hands of
conductor Clive Timms, and the little Clonter Sinfonia, led by Liz Rossi,
played delightfully.
****
Robert
Beale
No comments:
Post a Comment