There were a good many reasons in which to see this production, namely because it has a great cast and that the opera is one of Mozart's masterpieces and a personal favourite too. This production does not disappoint, of a strong season where the weakest production(Tosca)was still decent this production of Cosi Fan Tutte replaces Prince Igor as the best of the season. The costumes are very elegant and the sets are so beautiful in colour, some like the opening feeling like Italy on a very sunny day. The video directing has such a natural flow, looks as elegant as the costuming and matches the music and staging nuance by nuance. The staging is delightful and so thoughtfully done, Cosi Fan Tutte I've seen described as a confection of an opera and the production certainly embraces that and to an extent that we were taken out of the present day and right into Mozart's world. The comedy is infectiously lively with the timing from the principals adding to that, what was done with Despina was particularly well done, and the more dramatic parts are heartfelt and adorable, Cosi can be difficult to stage(especially the ending) but this production makes it seem easy.
The production has few if any problems musically, and the sharp sound quality helps. The music is some of the most beautiful Mozart ever wrote and the orchestra, through a sensitive, lushly played, assertive and stylish reading, give the feeling that they think so. Everything feels together, the phrasing is beautifully weaved together and the dynamic range throughout is varied and often mesmerising. James Levine, even when in a wheelchair and after a long absence, has lost none of his energy while conducting, because his leadership is so rhythmically driven and dynamic. Any production of Cosi that brings freshness and vitality to the recitatives and nuances to individual arias for example musically should be applauded. And there is little to complain about the performances, all 6 are good to brilliant(considering that here is one of the more youthful casts for Cosi) and there is not a case of the women being better than the men, or the men being better than the women, it's equal.
For me, the best of the 6 were Isabel Leonard and Rodion Pogossov as Dorabella and Guglielmo. Leonard looks fresh and youthful and she sounds and acts like it as well. Her lyrical phrasing, rich creamy tone, charming stage presence, enchanting looks, great musicality and stylistic elegance are to be much admired, as do how easily she interacts with everyone else and how she has the ability to be charming, witty, determined and heartfelt. Pogossov has a resonant voice that suits Mozart's style very well, it's one that is capable of the heartiness for parts like Donna Meie... and lyricism like in Il Core Vi Dono. As an actor he is hilarious, but he doesn't forget to be tender as well. Danielle De Niese is just splendid as Despina, her voice still has that vibrant and clear sound so perfect for early music and Mozart, and she is a brilliant comedienne while making Despina every bit a scheming maid rather than being too coquettish. Her disguises and voices are just hilarious.
Maurizio Muraro is one of the more experienced cast members and his Don Alfonso is great as well. His voice is characterful but never blustery and has power while not being overly so, his phrasing and musicality forceful and gentle at appropriate points. Alfonso in my mind should be world-weary and cynical but also a somewhat scheming puppeteer of the action without falling into the trap of being too wicked or jovial, Muraro does this and spot-on. Susanna Phillips and Matthew Polenzani are the least inspired of the cast dramatically but they are certainly not bad at all. Phillips is very charming and you relate to Fiordiligi immediately and that never gets lost, but when together with Leonard, she doesn't have quite as much energy or is as strong in comedy timing. Her voice is very beautiful and flexible though, she has a very large share in solos and ensembles and she is more than up to the task. Polenzani as Ferrando certainly does not disappoint vocally, far from it, he has a sweet, clear yet commanding tenor voice that creates gorgeous lines, elegant style and good musicianship. He is likable on stage and it is easy to see his appeal but his acting can feel a little too stand-there-and-sing whereas Leonard, Pogossov, De Niese and Muraro were practically living their roles.
All in all, truly wonderful and a triumph of a production. Not the best Cosis I've ever seen, but one where not a single second was regretted. 9/10 Bethany Cox
The production has few if any problems musically, and the sharp sound quality helps. The music is some of the most beautiful Mozart ever wrote and the orchestra, through a sensitive, lushly played, assertive and stylish reading, give the feeling that they think so. Everything feels together, the phrasing is beautifully weaved together and the dynamic range throughout is varied and often mesmerising. James Levine, even when in a wheelchair and after a long absence, has lost none of his energy while conducting, because his leadership is so rhythmically driven and dynamic. Any production of Cosi that brings freshness and vitality to the recitatives and nuances to individual arias for example musically should be applauded. And there is little to complain about the performances, all 6 are good to brilliant(considering that here is one of the more youthful casts for Cosi) and there is not a case of the women being better than the men, or the men being better than the women, it's equal.
For me, the best of the 6 were Isabel Leonard and Rodion Pogossov as Dorabella and Guglielmo. Leonard looks fresh and youthful and she sounds and acts like it as well. Her lyrical phrasing, rich creamy tone, charming stage presence, enchanting looks, great musicality and stylistic elegance are to be much admired, as do how easily she interacts with everyone else and how she has the ability to be charming, witty, determined and heartfelt. Pogossov has a resonant voice that suits Mozart's style very well, it's one that is capable of the heartiness for parts like Donna Meie... and lyricism like in Il Core Vi Dono. As an actor he is hilarious, but he doesn't forget to be tender as well. Danielle De Niese is just splendid as Despina, her voice still has that vibrant and clear sound so perfect for early music and Mozart, and she is a brilliant comedienne while making Despina every bit a scheming maid rather than being too coquettish. Her disguises and voices are just hilarious.
Maurizio Muraro is one of the more experienced cast members and his Don Alfonso is great as well. His voice is characterful but never blustery and has power while not being overly so, his phrasing and musicality forceful and gentle at appropriate points. Alfonso in my mind should be world-weary and cynical but also a somewhat scheming puppeteer of the action without falling into the trap of being too wicked or jovial, Muraro does this and spot-on. Susanna Phillips and Matthew Polenzani are the least inspired of the cast dramatically but they are certainly not bad at all. Phillips is very charming and you relate to Fiordiligi immediately and that never gets lost, but when together with Leonard, she doesn't have quite as much energy or is as strong in comedy timing. Her voice is very beautiful and flexible though, she has a very large share in solos and ensembles and she is more than up to the task. Polenzani as Ferrando certainly does not disappoint vocally, far from it, he has a sweet, clear yet commanding tenor voice that creates gorgeous lines, elegant style and good musicianship. He is likable on stage and it is easy to see his appeal but his acting can feel a little too stand-there-and-sing whereas Leonard, Pogossov, De Niese and Muraro were practically living their roles.
All in all, truly wonderful and a triumph of a production. Not the best Cosis I've ever seen, but one where not a single second was regretted. 9/10 Bethany Cox
