Photo credits: Richard H Smith at musicalcriticism.comCosì fan tutte
Friday, February 12, 2010
Composer Wolfgang Amadeus Mozart
Librettist : Lorenzo da Ponte
Director Jonathan Miller
Performers
Conductor Julia Jones
Ferrando Charles Castronovo
Guglielmo Troy Cook
Don Alfonso William Shimell
Fiordiligi Sally Matthews
Dorabella Nino Surguladze
Despina Helene Schneiderman
I am indeed hopeless in providing some opinion about shows before the run is actually over, still as everyone who saw it realised, it was just what the doctor ordered against any “wintery” depression, wet-weather and all kinds of other types of frustration ;-)
I used to run away from this particular Mozart piece like the pest as it was invariably boringly staged and delivered in a way that did not allow for any true character distinction between the couples or the individuals as such. It felt to a certain point like a nondescript sequence of arias, duos, trios, more duos, more arias, all neatly and very predictably following each other. All peppered with unbelievable costuming and too much moralistic self-importance.
Ok, we still have OTT costuming ;-) but unlike it being the purpose of the transformation here it clearly is just the pretext for outrageous behaviour. Which seems to me what Mozart and of course, Mr da Ponte ;-) would have really intended, after all like many others of his works this one is profoundly human, deeply ironic and more contemporary in its subject than most operas. I don’t think his intension is ever to moralise and preach, on the contrary, he seems to relish in reminding us that beyond rules and in spite of conventions, humans are imperfect, flawed and that some of the fun, but also some suffering and learning in life comes from these very weaknesses. So his Fiordiligi and Dorabella, Guglielmo and Ferrando embark on a journey of discovery about themselves and their relationships.
Of course you may ask, do they really not recognise their lovers under the disguise? Maybe yes, maybe not, but I think the temptation here lies in the new, the unknown, the different. They are the same men, but behaving very differently, which actually makes the women chose in the “strangers” the exact opposite of their “real” lovers. And although a first glance it is the women who give into temptation and the work is called “cosi fan tutte”, at a second look at the libretto it becomes obvious the men are no saints either. After all they willingly and delightfully engage in the game and Guglielmo’s vivid complaint about women’s character also unveils his own :” Io vo' bene al sesso vostro, /Lo sapete, ognun lo sa: /Ogni giorno ve lo mostro, /Vi dò segno d'amistà;” yes, friendship… riiiiiiiight…..
Jonathan Mller’s production is a witty delight! It is incredibly natural and easy to relate to and he deserves extra credit for having Ferrando play “air-guitar” on Mozart and the 4 of them dance to the old tunes ;-) It is funny, but not at all out of place. There wasn’t a moment in the whole production where I wished something was made differently, or where I got distracted by anything in the staging or choreography. The character definition is very well managed and with a cast that is young, fun and handsome it glues you to the story. He seized the opportunity to show Mozart&daPonte’s talent for good theatre and gave it a modern twist by highlighting, rather than hiding the irony behind the music. The ambiguity is continued to the last bars where we are left wondering who will stay with whom and if at all. And I have rarely seen a production better married to the music; an excellent example of how modern opera productions can be done!
But the harmony works and the piece entertains without falling on the bitter side because of the music and the singing. It is the altogether harmonious and very good cast that keeps the light touch on the evening and makes the audience smile and laugh time and time again. Conducting, playing and singing are of such a quality that everything seems as natural as speech. You never stop to think about a breath badly placed, about a note that might go amiss, about a dangerous line, the flow of the music never ever gets interrupted. And continuity and pace are essential to good Mozart! Recitatives and arias meld naturally into each other , with particularly brilliant diction from Castronovo’s Ferrando and Helene Schneiderman’s Despina, which is one of the best I have ever heard live.
Friday, February 12, 2010
Composer Wolfgang Amadeus Mozart
Librettist : Lorenzo da Ponte
Director Jonathan Miller
Performers
Conductor Julia Jones
Ferrando Charles Castronovo
Guglielmo Troy Cook
Don Alfonso William Shimell
Fiordiligi Sally Matthews
Dorabella Nino Surguladze
Despina Helene Schneiderman
I am indeed hopeless in providing some opinion about shows before the run is actually over, still as everyone who saw it realised, it was just what the doctor ordered against any “wintery” depression, wet-weather and all kinds of other types of frustration ;-)
I used to run away from this particular Mozart piece like the pest as it was invariably boringly staged and delivered in a way that did not allow for any true character distinction between the couples or the individuals as such. It felt to a certain point like a nondescript sequence of arias, duos, trios, more duos, more arias, all neatly and very predictably following each other. All peppered with unbelievable costuming and too much moralistic self-importance.
Ok, we still have OTT costuming ;-) but unlike it being the purpose of the transformation here it clearly is just the pretext for outrageous behaviour. Which seems to me what Mozart and of course, Mr da Ponte ;-) would have really intended, after all like many others of his works this one is profoundly human, deeply ironic and more contemporary in its subject than most operas. I don’t think his intension is ever to moralise and preach, on the contrary, he seems to relish in reminding us that beyond rules and in spite of conventions, humans are imperfect, flawed and that some of the fun, but also some suffering and learning in life comes from these very weaknesses. So his Fiordiligi and Dorabella, Guglielmo and Ferrando embark on a journey of discovery about themselves and their relationships.
Of course you may ask, do they really not recognise their lovers under the disguise? Maybe yes, maybe not, but I think the temptation here lies in the new, the unknown, the different. They are the same men, but behaving very differently, which actually makes the women chose in the “strangers” the exact opposite of their “real” lovers. And although a first glance it is the women who give into temptation and the work is called “cosi fan tutte”, at a second look at the libretto it becomes obvious the men are no saints either. After all they willingly and delightfully engage in the game and Guglielmo’s vivid complaint about women’s character also unveils his own :” Io vo' bene al sesso vostro, /Lo sapete, ognun lo sa: /Ogni giorno ve lo mostro, /Vi dò segno d'amistà;” yes, friendship… riiiiiiiight…..
Jonathan Mller’s production is a witty delight! It is incredibly natural and easy to relate to and he deserves extra credit for having Ferrando play “air-guitar” on Mozart and the 4 of them dance to the old tunes ;-) It is funny, but not at all out of place. There wasn’t a moment in the whole production where I wished something was made differently, or where I got distracted by anything in the staging or choreography. The character definition is very well managed and with a cast that is young, fun and handsome it glues you to the story. He seized the opportunity to show Mozart&daPonte’s talent for good theatre and gave it a modern twist by highlighting, rather than hiding the irony behind the music. The ambiguity is continued to the last bars where we are left wondering who will stay with whom and if at all. And I have rarely seen a production better married to the music; an excellent example of how modern opera productions can be done!
But the harmony works and the piece entertains without falling on the bitter side because of the music and the singing. It is the altogether harmonious and very good cast that keeps the light touch on the evening and makes the audience smile and laugh time and time again. Conducting, playing and singing are of such a quality that everything seems as natural as speech. You never stop to think about a breath badly placed, about a note that might go amiss, about a dangerous line, the flow of the music never ever gets interrupted. And continuity and pace are essential to good Mozart! Recitatives and arias meld naturally into each other , with particularly brilliant diction from Castronovo’s Ferrando and Helene Schneiderman’s Despina, which is one of the best I have ever heard live.
Photo credits: Richard H Smith at musicalcriticism.comShimell’s Alfonso is imposing, but never evil and his voice carries that extra weight showing who is in charge through music. Sally Matthews’ flexible and powerful voice carries the torment and antics naturally and gives us a “Come scoglio” to remember :-) Troy Cook and Nino Surguladze make a very credible second pairing, both finding in voice and acting a light playfulness that stays convincingly on the cheeky side. And it is Charles Castronovo’s mellifluous tenor who brings the necessary sweet romantic touch and reminder that “love does hurt” sometimes ;-))) Especially on the second night I saw he delivered an “aura amorosa” full of warmth and feeling and easily displayed the contrast in the cavatina between “Tradito, schernito” and the defeated “Quest'alma l'adora, /Io sento per essa /Le voci d'amor” (which deservedly earned him another round of applause). And there is something decidedly charming about his darker shaded voice pulling off Mozartian lines with agility and character.
I’ve seen it twice and really wish I could have seen it again! Good news for the ones who have missed it this time, they will get another chance in 2012 when we might get another revival.
I’ve searched a while to try and bring you “Un aura amorosa” with CC, but no such luck …. In lieu here is more about love and laughter from Castronovo and Siurina ;-)
Una Parola, o Adina (Castronovo & Siurina)
thanks for the video tenorgoodfella
And one more…..
Prendi l'anel ti dono (Castronovo & Siurina)
thanks for the video tenorgoodfella
An the last one, which has nothing to do with the above, but is from a more recent concert and shows that Mr Castronovo has some amazingly good Spanish pronunciation, a que si?
No puede ser (Castronovo)
thanks for the video tenorgoodfella
PS Oh, and thanks to everyone for bringing Cosi fan tutte back in my favours ;-))))
PPS My only regret is not finding out how they go about painting the guys with those tattoos???? Semi-permanent? Do they do it every evening anew… they are beautiful if such were the case, I really wished I could have seen them from closer up ;-)
