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An clever new manufacturing of Così fan tutte at Bayerische Staatsoper – Seen and Heard Worldwide

Germany Mozart, Così fan tutte: Soloists, Refrain and Orchestra of Bayerische Staatsoper / Vladimir Jurowski (conductor). Nationaltheater, Munich, 26.10.2022. (ALL)

Avery Amereau (Dorabella) and Louise Alder (Fiordiligi) © Wilfried Hösl 

Director – Benedict Andrews
Costumes – Victoria Behr
Settings – Magda Willi
Lightning – Mark Van Denesse
Dramaturgy – Katja Leclerc
Refrain director – Kamila Akhmedjanova

Fiordiligi – Louise Alder
Dorabella – Avery Amereau
Despina – Sandrine Piau
Guglielmo – Konstantin Krimmel
Ferrando – Sebastian Kohlhepp
Don Alfonso – Christian Gerhaher

Così fan tutte is Mozart’s most tough to stage: half comedy, half tragedy and above all a really misogynistic story. The problem of any manufacturing is to know how one can do justice to all dimensions of the work with out falling into straightforward mawkishness or vulgarity.

From this standpoint, director Benedict Andrews clearly set the tone firstly with neon lights saying La scuola degli amanti going from a shiny white to a barely soiled yellow colour. It’s the identical colour as within the room the place we see Don Alfonso, in a leather-based masks, giving some change to a maid who’s getting dressed. The room comprises a unclean mattress and a doll fort in Disney-like colours. In a superb first couple of minutes, the tone is ready. These objects will return beneath totally different varieties and shapes with out ever discovering concord. No person will come out of this unhealthy joke unscathed. Struggling is an efficient instructor, says the proverb…

This clever manufacturing was supported by convincing younger singer-actors. Some comedic components had been very profitable and good however there have been additionally a couple of flaws. We might have achieved with out some tasteless and straightforward results that don’t actually add something. The work was given with all recitatives and all arias, so this Così lasted 4 hours, together with the intermission, and that’s too lengthy. Two years in the past, the Salzburg Competition offered a compact model of two and a half hours with out an intermission, chosen by the duo Joanna Mallwitz and Christof Loy. It was achieved to satisfy pandemic restrictions, however the end result was very convincing and profound.

The 2 {couples} had been carried out by younger singers of nice expertise. Louise Alder (Fiordiligi) has very lovely excessive notes (and has introduced that she is anticipating a cheerful occasion, congratulations!). Subsequent to her, Avery Amereau (Dorabella) displayed very good phrasing and a splendid velvet tone. The lads took some time to make their marks, which occurs on opening nights, and Konstantin Krimmel (Guglielmo) having had Covid throughout the rehearsals didn’t assist, however – along with Sebastian Kohlhepp’s Ferrando – he gained ease throughout the second act. Sandrine Piau was a light-weight and assured Despina. Christian Gerhaher is a superb singer – as we all know – however produced the odd surprisingly intrusive sforzando at instances.

Vladimir Jurowski took inspiration from baroque apply, together with, pure horns and absence of vibrato within the strings The pit was barely raised to make sure that the musicians might be heard in a corridor made for Wagner and Richard Strauss. There have been some very lovely moments, although some tempi had been a bit jerky and above all, a sure Mozartian singing line was lacking. Conductors reminiscent of René Jacobs have proven that it’s doable to make Mozart sound virtually baroque whereas preserving his theatricality and stream, which Jurowski, regardless of his expertise, didn’t obtain.

Antoine Lévy-Leboyer



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