John Cox’s production of Cosi fan tutte was originally conceived in 2002 for the Opera House in Monte Carlo to celebrate the restoration of this 19th century architectural gem. Sadly, the restoration and thus the premiere of Cox’s production were delayed, but eventually Cosi was unveiled in Monaco in February 2004 and travelled to San Francisco in September the same year. In between, the production was given its UK premiere at Garsington Manor in June.
“this is an elegant, sophisticated and thoughtful production: another triumph for Garsington Opera”
Now, nearly 20 years later, Cox has revived the production for the opera pavilion at Wormsley – and what a treat it is to see this lively, captivating production in such a magnificent setting.
In keeping with the original Monte Carlo commission, Cox has placed the action on the French Riviera, the idyllic, escapist world of gambling, sun-soaked terraces and shimmering seas, overshadowed by impending war, providing the perfect backdrop for Don Alfonso’s mischievous experiment and the exposure of human foibles that follows.
“Cox has placed the action on the French Riviera, the perfect backdrop for Don Alfonso’s mischievous experiment and exposure of human foibles”
Robert Perdziola’s sets and costumes, capturing the essence of the Belle Époque era, are breathtakingly glorious, with seamlessly efficient transitions from one scene to the next, and there are sparkling performances from a uniformly strong cast.
The four lovers – Polly Leech and Camilla Harris as sisters Dorabella and Fiordiligi, and Gavan Ring and Seán Boylan as their suitors Ferrando and Guglielmo – all bring youthful energy and impetuosity to their roles, and there is some exemplary singing all round.
Camilla Harris, a late replacement for Camila Titinger, is particularly impressive, her arias ‘Come scoglio’ and ‘Per pieta’ delivered with passion and vocal agility, each one a tour de force.
Polly Leech is a delightfully flirtatious and strongly sung Dorabella, while Gavan Ring and Seán Boylan deliver some heartfelt arias as they see their fiancées eventually succumbing to the attentions of the wrong suitor.
Ailish Tynan is full of vocal warmth and comic flair as the maid Despina, while Henry Waddington’s Alfonso is suave and sophisticated in his deft manipulation of the young lovers, and his singing is imbued with richness and eloquence. There are some fine ensemble moments too, from the principal characters and the chorus.
Period instrument ensemble The English Concert is conducted from the pianoforte by Tobias Ringborg, who teases out the delights of Mozart’s score with clarity and precision.
Overall, this is an elegant, sophisticated and thoughtful production: another triumph for Garsington Opera.
The Garsington Opera season continues with new community opera Dalia on July 28- 31. www.garsingtonopera.org
NICOLA LISLE
