Lammermuir: Così fan tutte
St Mary’s Church, Haddington
As artistic life opens up and opera makes its gradual stage comeback, it’s vitally important to witness such a predominance of youth in Scottish Opera’s production of Mozart’s Così fan tutte, which received its live premiere at this year’s Lammermuir Festival. Roxana Haines’ ballsy new production – created initially for last December’s filmed version – lends itself well to such bright young things and the refreshing open-mindedness that comes as a consequence.
They are what makes a scintillating success of this opera, despite the convoluted nonsense that is its plot, and despite the fact that transferring Haines’ clever production ideas for the filmed format to live stage diminishes to an extent its previous edge. Rationalising the unlikely love entanglements as a modern-day reality TV show was, in the original media concept, a convincing hit. In the vastness of St Mary’s Church, and without the camera tricks to reinforce the message, its impact seemed diluted, at least visually.
The positive consequence was the immediacy of the performance. Here were singers responding as much to the audience’s close presence, its spontaneous applause, as to Mozart’s theatrical score. It helped that they were out front as first point of visual contact, the orchestra and chorus under music director Stuart Stratford stretching far into the darkened distance behind. Minimal props on a raised stage sharpened the central focus.
Rarely will you find a more integrated team for Così than this one, eliciting a spontaneous camaraderie that informed every action and reaction, but equally triumphed in the opera’s memorable ensemble numbers. But here was individuality too, each character richly coloured with his or her own demeanour and personality.
Margo Arsane (Dorabella) and Charlie Drummond (Fiordiligi) played the sisters like two sides of the same coin, Arsane’s juicy flippancy and vocal delicacy an affectionate contrast to the glowing maturity of Drummond’s wholesomely versatile soprano. The tender, passionate tenor of Shengzhi Ren (Ferrando) proved the perfect foil to Arthur Bruce’s fast-acting Guglielmo, his rich lyrical baritone finding natural resonance in the church acoustics.
The playmakers – Michael Mofidian as the tricksy Don Alfonso (the game show host in Haines’ production) and the characterful Catriona Hewitson as the colluding Despina – were an artful pairing.
If there was an inevitable sense of distance from the orchestra and chorus, Stratford’s punchy direction captured the lively spirit of the piece, but also accommodated its many poised and beautiful moments.