Così fan tutte

08-26 Mar ,

Theatre reviews

Jim Sharman directs and Ralph Myers designs the latest Opera Australia production

First published on 1 Sep 2011. Updated on 27 Mar 2012.

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Cosi fan tutte is the third Mozart production for Opera Australia this year (The Magic Flute and The Marriage of Figaro being the other two), and it is the stalest of the three. Don Alfsono (Richard Anderson) bets Ferrando (Stephen Smith) and Guglielmo (Samuel Dundas) that their two lovers will, like all women, be unfaithful to them if the opportunity presents itself. The two men accept his wager, and ‘leave’ town, called away to fight a war, before coming back disguised and ready to test their lovers’ hearts. The lovers in question, Fiordiligi (Sharon Prero) and Dorabella (Sian Pendry), suspect nothing, while their maid, Despina (Lorina Gore), has been co-opted by Don Alfsono into pushing her two mistresses towards infidelity.

Directed by Jim Sharman and conducted by Benjamin Northey, the production is bizarrely framed by a wedding, just like one you might see at the Opera House, the bride and groom sitting on either side of the stage and watching the action unfold in front of them. Remaining silent throughout the entire opera, their presence adds nothing to the proceedings. The use of a live video camera, to capture the faces of women in the audience during one of Guglielmo’s arias, also smacks of gimmickry.

Ralph Myers’s all-white set curves downwardly from the back of the stage like the difficult hole at a putt-putt course. The actors, too, have trouble staying apexed for any significant length of time, thumping as gracefully as possible towards the orchestra pit in what can only be described as a semi-controlled fall.

There is much to like, however. The set, for all its vertigo, remains engaging for the duration, as it is gradually littered with multi-coloured confetti that is sprinkled and thrown by all and sundry – indeed, this production is very desiccated. The comedy, though far from perfect, is still entertaining, and the singing for the most part, especially that of Prero, is a pleasure to hear. (Gore, on the other hand, seemed to struggle on occasion.) The costumes, by Gabriel Tylesova, are very specific to the mood, and provide both a humour and beauty when needed. One is reminded, however, of Chanel’s maxim to “take one thing off” before you leave the house, but the layer underneath is still worthwhile.

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Words by Tomas Boot