United Kingdom Mozart, Così fan tutte (concert staging): Soloists, Chorus and Orchestra of English National Opera / Alexander Joel (conductor). Bridgewater Hall, Manchester, 27.2.2026. (MC)
In 2025 English National Opera had debuted in the metropolitan county of Greater Manchester with an admirable Albert Herring a fully staged production at the Lowry, Salford (review here). The chosen venue for Così fan tutte was Manchester’s Bridgewater Hall, not an opera house, so having previously attended only fully staged opera productions of Così fan tutte to encounter a concert staging seemed very different. I noticed in ENO’s recent production at the London Coliseum the set was a lavish Coney Island pleasure site with fairground rides and circus acts. This Bridgewater Hall concert staging was based on that concept.
I shouldn’t be surprised at the number of productions I have seen of Così fan tutte as it is much esteemed by opera audiences. Mozart had an exceptional librettist in Lorenzo Da Ponte. Following success with The Marriage of Figaro and Don Giovanni, Da Ponte’s marvellous libretto for Così fan tutte concerns a preposterous plot based on a bet. This opera buffa is about love and deception, honour and loyalty to which Mozart responds by writing irresistible arias and glorious ensembles.
Using an engaging English translation prepared by Jeremy Sams, overall, the mood of this ENO concert staging had the frothy and fun-loving elements of opera buffa together with the flawed and vulnerable aspects of the human condition.
Mozart wrote Così fan tutte for a small theatre with a cast of just six and to maintain intimacy and focus, productions will often reduce the size of the stage in opera houses. At the Bridgewater Hall experienced director Ruth Knight had the large stage to contend with and this I felt was a major disadvantage. Yet despite the obvious drawback of the substantial space Knight’s pleasing staging felt nimble with a pleasing level of resolve. It would have been pointless for Knight to attempt to fill the stage and sensibly the only furniture was a double bed, armchair, large chest and a pair of women’s hairdressing chairs with hooded dryers.
Costume designer Laura Hopkins kept things relatively simple with the two sisters Fiordiligi and Dorabella wearing woollen jumper, skirt and bobby socks. During the second act the sisters changed into glamorous evening dresses. For both Guglielmo and Ferrando, Hopkins had chosen a naval uniform comprising navy-blue, double-breasted blazer and hat. Later in the opera the two officers dressed down into blue denim jeans and brown leather Bomber jackets.
Joshua Blue clearly relished the tenor role of Ferrando. His singing was accomplished and frequently passionate, matched by his natural acting. As Dorabella, Taylor Raven revealed her rich-timbred mezzo-soprano that blended so adeptly with her characterisation. My inference was that Dorabella was rather more comfortable with the prospect of being unfaithful to her fiancé than Fiordiligi was with hers.
As Guglielmo, baritone Darwin Prakash’s voice noticeably improved during the performance. He responded to the challenges of the role giving a solid performance and provided significant drama. Lucy Crowe excelled as Fiordiligi displaying her attractive soprano to superb effect. My highlight was Fiordiligi’s glorious aria Per pietà, ben mio, perdona (Please, my beloved, forgive) sung whilst positioned up in the choir stalls.
The role Don Alfonso was taken by Andrew Foster-Williams who sported a loud oversized yellow suit and spectator shoes. Happy to amuse himself and clearly adept at scheming Alfonso could sell snow to the arctic. I really warmed to Alfonso who exuded confidence giving an efficacious performance. Ailish Tynan was well suited to the comedy role of Despina. Displaying a cynical view of men and life in general, Despina was always up for a good time and easily bribed.
As the two officers boarded their boat and sailed off to war the sisters Fiordiligi and Dorabella with Don Alfonso wish them a safe journey with the famous Act I trio Soave sia il vento (May the wind be gentle). This was another highlight and the three responded so compellingly.
In admirable form the twenty-three strong ENO Chorus made a valuable contribution to the success of the performance. Briefly early in the performance I felt the soloists and orchestra weren’t entirely together, nevertheless conductor Alexander Joel conducted the medium-sized orchestra with aplomb.
Manchester may not have had the fully staged ENO production of Così fan tutte that London had recently experienced. Nonetheless I didn’t feel shortchanged as this great opera was performed with unerring confidence and provided the audience with enjoyment in spades.
Michael Cookson
Featured Image: [l-r] Darwin Prakash (Guglielmo), Andrew Foster-Williams (Don Alfonso), Joshua Blue (Ferrando) and conductor Alexander Joel © Matthew Johnson
Creatives:
Direction – Ruth Knight
Costume design – Laura Hopkins
Lighting design – Laura Sprake
Translation – Jeremy Sams
Cast:
Fiordiligi – Lucy Crowe
Dorabella – Taylor Raven
Guglielmo – Darwin Prakash
Ferrando – Joshua Blue
Despina – Ailish Tynan
Don Alfonso – Andrew Foster-Williams
A very fine conductor who happens to be a half-brother of classically trained Billy Joel.
Yes, that’s interesting information. Alexander Joel is a fine conductor. The Joel’s are clearly a family of music masters.