State Opera South Australia. Her Majesty’s Theatre. 29 Aug 2024
State Opera South Australia has a hit on its hands with this sparkling production of Mozart’s Così fan Tutte (which translates as So do they all) As the ebullient opening night audience was filing back into the auditorium of Her Majesty’s Theatre after the interval, one patron was overheard to say, “I’d forgotten how much fun this opera can be!”, and he was absolutely spot on. In the wrong hands, Così can be anything but fun and instead become wearying, but director Patrick Nolan, conductor Dane Lam, designers Elizabeth Gadsby and Bernie Tan-Hayes, together with the excellent cast (more on them later) all collaborate superbly to elevate the work to an entirely new level.
This is one of State Opera South Australia’s best productions in years and it eclipses the recent production of Candide.
The success of Così fan Tutte turns on the skills of the principal cast of six. Not just singing skills, but also acting skills. The two are needed in at least equal measure, and if the ability of the principals to create believable (albeit exaggerated) characters is not highly polished, then it all comes tumbling down and the nearly three hours playing time really puts the comfort of the theatre’s seats to the test! The principals in this production – Sky Ingram (as Fiordiligi), Anna Dowsley (Dorabella), Adrian Strooper (Ferrando), Nicholas Lester (Guglielmo), Christopher Hillier (Don Alfonso) and Jessica Dean (Despina) – all come up trumps. They do! All of them!
Così fan Tutte is a comedic opera and centres around around two military officers, Ferrando and Guglielmo, who boast long and hard about the virtues of their fiancées, sisters Dorabella and Fiordiligi. The boys’ friend, Don Alfonso, doubts the two girls would remain faithful to the boys given the right circumstances, and he makes a bet they will ‘stray’ like all other women. The bet is accepted, and so commences the unfolding of an elaborate set of circumstances, misinterpretations, masquerades, and intended and unintended seduction! Although the fundamental premise smacks of misogyny, the boys don’t emerge from the mess smelling of roses!
The original libretto sets the play in Naples at a time well in the past, but Nolan places this production in the here and now. Unlike many attempts to ‘update’ operas, this one really works. Even the language used in the surtitles is just a little bit hip, especially in Act 1, and the audience lap it up. The spice, humour, and inherent naughtiness of the whole opera is amplified. One can easily imagine that Mozart, who, from all accounts had a very earthy sense of humour and a bit of a ‘potty mouth’, would heartily approve of the surtitles!
The action takes place in various locations and the set, which evokes the look and feel of an upmarket mediterranean beach resort decorated in the style of a lush classical Italian villa, is adapted to all locales. Tan-Hayes’ excellent lighting makes it more convincing. In Act 2, the set is impressively deconstructed and reduced to a stark setting with all the stage lights and scaffolding in plain view on both flanks. This is initially puzzling (and perhaps a bit tawdry) – it stands in stark contrast to the colour and opulence of Act 1 – but as the space becomes increasingly cluttered and chaotic with various items, it gradually makes sense, as the disorder and turmoil that the sisters and their lovers have unleashed on themselves takes a firm grip on their lives. At the end of the opera, with its ‘they all live happily ever after’ ending despite all the shenanigans, the set partially re-constructs itself and becomes a metaphor for a return to normality, of sorts!
But it’s not all froth and bubble. Lurking not too far beneath the surface of all the frivolity, there are serious themes being explored, and some arias need to be sung with that in mind. For example, the highlight aria is Fiordiligi’s Come scoglio (I am like a rock), and Ingram sings it with great authority. One easily believes that Fiordiligi is tempted to be unfaithful to Guglielmo but ultimately, she is rock solid in her constancy, and the music mirrors these polar opposites, with lots of challenging leaps. The way the aria is staged is also illuminating!
There are of course numerous other solo arias and ensembles, and the principals are all very, very good. Anna Dowsley is superb as the flirtier Dorabella, with a touch of The Taming of the Shrew in her characterisation. Totally enjoyable acting and singing. Nick Lester and Adrian Strooper borrow some gaits from Monty Python’s Ministry of Silly Walks, and draw a fine line between farce and comedy, but with seriously good vocals. Christopher Hillier exudes cynicism, but in a most beguiling manner, and sings up a storm with his warmly rounded tenor voice. Jessica Dean is almost a scene stealer as Despina (and a host of other characters), and she most definitely has the acting chops to meet Patrick Nolan’s vision. This is possibly her finest role with State Opera.
It would be remiss not to point out that Adrian Strooper stood in at short notice in place of Kyle Stegall who became indisposed. Strooper came down from Cairns (!) and fitted in superbly. Indeed, one would not even know that he was brand new to the cast unless one was told. He has sung the role of Ferrando elsewhere in famous opera houses, and so knows the role inside out, but it is still a tall order to ‘fit in’ with almost no rehearsal and be expected to act in the required style, be in the right place at the right time on stage, as well as sing superbly. One cannot sing his praises too much. The only obvious sign of his freshness to the production was a little misstep in the curtain call, which was greeted by much laughter and smiles from his fellow cast members and the audience.
Dane Lam was busy in the orchestra pit. Not only did he vigorously conduct, but he also played the fortepiano at times. His direction of the Adelaide Symphony Orchestra was excellent. The orchestra is important in opera, but it’s not the principal focus, and in lighter operas such as Così, the right balance between orchestra and on-stage vocalists is crucial. Lam preserves the essential playfulness of Mozart’s score and produced gravitas when required. Importantly, the vocalists are never ‘washed out’ and are not treated as unthinking slaves to the baton. Wonderful control.
This production of Così fan Tutte is a winner. It has everything: colour, superb costumes and sets, great humour and drama, wonderful music, great acting, and even greater singing. Just wonderful. Do see it.
Kym Clayton
When: 29 Aug to 7 Sep
Where: Her Majesty’s Theatre
Bookings: ticketek.com.au
