United Kingdom Mozart, Così fan tutte: Soloists, Chorus and Orchestra of Opera North / Chris Hopkins (conductor). Nevill Holt, Leicestershire, 6.6.2025. (CP)
Creatives:
Director – Cecilia Stinton
Designer – George Leigh
Costumes realised by Stephen Rodwell
Lighting designer – Mike Lock
Chorus master – Anthony Kraus
Cast:
Guglielmo – Seán Boylan
Don Alfonso – William Dazeley
Despina – Claire Lees
Dorabella – Heather Lowe
Fiordiligi – Ella Taylor
Ferrando – Egor Zhuraskii
Of the colloquially labelled da Ponte trilogy – Don Giovani, La nozze di Figaro, Così fan tutte, Così is the last and the most light-hearted of Mozart’s operas with Lorenzo Da Ponte, his librettist. The overture to Così may not be considered the most challenging but for four minutes the lyrical oboe solo and the scurrying quavers of the two bassoons are crucial to a magical start of this emotionally complex music. With full time members of the Opera North Orchestra in the pit under the direction of Chris Hopkins, the beautiful andante, given plenty of space to blossom, was followed by a high spirited presto, both providing a sensational platform for a review of the amorous conspiracies which drive the action of the opera.
Director Cecilia Stinton and designer George Leigh establish a rehearsal studio office for the embittered, failing philosopher Don Alfonso (William Dazeley) – not a man to like. Using angle-poise lamp lighting he scripts the action for the vulnerable lovers in a stage within the stage which dominates what we see. In order to manipulate the lovers Alfonso uses a miniature replica of the box in which he contrives to play with the characters as toys. He is supported by members of the Opera North Chorus as actors who become pawns in the story. The outcome of this intriguing approach is a refreshingly different production with the prospect of six performances which are double cast.
On opening night, Opera North General Director Laura Canning hosted an audience in the Nevill Holt Chapel to introduce the opera’s director, Cecilia Stinton, with her revealing ‘Backstage Insights’ and her commentary on the emotional complexity of the music and whether Così is a comedy pure and simple or is it genius of the eighteenth-century commenting profoundly on life today?
Alfonso works at his desk before the magical overture begins. Manipulator Alfonso begins his plotting to win the wager with two young soldiers. Ferrando sung by Egor Zhuraskii, a Russian-Ukrainian, a former member of the Jette Parker Young Artist Programme at Covent Garden sings a formidable Ferrando. Seán Boylan, making a welcome return to Nevill Holt, sings the role of Guglielmo. In 2021 he sang the title role in Don Giovanni in Nevill Holt’s very brave and successful outdoor production; in this Così he was warmly admired for his portrayal of ‘illicit activities’. Both artists responded enthusiastically to Alfonso’s manoeuvres to trap the girls with intelligent acting, firework cadenzas – which drew the audience into the situation – and genuine emotion. That same ability is true of Claire Lees, singing the role of Despina, who takes every opportunity for sport and mischief. She is the star of the evening. A product of the Royal Birmingham Conservatoire she brings valuable experience to this production as a member of the Opera North Chorus and appearances at many opera houses across the UK. She sparkles on the stage as she becomes increasingly implicated in the Alfonso plans; as the maid and confidante to the sisters Fiordiligi and Dorabella; impersonating the doctor and the notary in the most humorous manner; and skilfully imitating the fitting language of both. Lees is rhythmically light on her feet and successfully confuses all with her ability to disguise her voice. Her finest moment was undoubtedly her imitation of the impact of magnets – the ‘Mesmeric stone ’- to revive the lovers who are pretending to have been poisoned.
Mozart’s two female characters Dorabella (Heather Lowe) and Fiordiligi (Ella Taylor) are sisters, and both portrayed as naive and easily influenced. Their two suitors, Ferrando and Guglielmo, are content that their giggling girl friends will not fall for the trap Alfonso has set. Heather Lowe is superb, with silvery tone, charm and poise. Ella Taylor is a terrific singer, very capable of delivering a gripping story. A graduate of the National Opera Studio, a prize-winner at the 2020 Kathleen Ferrier Awards, Taylor delivered the most famous aria in Così fan tutte, ‘Come scoglio’ (‘Like a rock’) with great confidence, meeting all the technical demands, accompanied by exceptional horn playing from the pit. It was a remarkable three minutes from the young singer.
The young soldiers created some of the most amusing moments of the opera when dressed as Albanians as they attempted to woo the girls in the gardens. Memorable comic moments were many, one in particular engineered by members of the chorus working as actors and sceneshifters with the introduction of an upside-down false backdrop to that large wooden box. Sceneshifters capturing audience attention is quite an achievement! This opera is a comedy within a comedy. Contracts for the girls to enjoy a romantic double wedding to the Albanians are abruptly withdrawn when the soldiers return to their loved ones. As mentioned earlier, Claire Lees played the part of the notary perfectly.
Throughout this opera buffa, the onstage characters are supported strongly by excellent playing by members of the Opera North Orchestra, many of whom have fond memories of working under the fine conducting of former music director Richard Farnes. Chris Hopkins kept the pace moving, the evening sped along most effectively. This opera is double cast; cast one were very effective on opening night, and hopefully, cast two will match their success.
Così fan tutte is a highlight of this annual Nevill Holt Festival; there are so many more events to follow within the other venues in the gorgeous grounds, the Festival is well worth a visit (for more information click here).
Clive Peacock