“Così fan tutte” has always been the problem child among Mozart’s three late opera comedies. The refrain that woman’s fidelity is like the Arabian phoenix (“everyone claims it exists, but no one has ever seen it”), has offended formed taste ever since its premiere in 1790. About “Così fan tutte” Opera in two acts. Music by Wolfgang Amadeus Mozart, libretto (text) by Lorenzo Da Ponte. The title means “This is what all women do”. First performed on 26 January 1790 in Vienna’s Burgtheater. About military officers Ferrando and Gugielmo, who dress up as Albanian men and court each other’s fiancees – the sisters Fiordiligi and Dorabella – to test their fidelity. In the end, the friends reveal their identities and all is forgiven. The four then sing about the praiseworthy thing in being able to accept both prosperity and adversity in life. Source: Wikipedia When “Così fan tutte” is just as close to “The Marriage of Figaro” and “Don Giovanni” in popularity, it is because good productions have always managed to turn the opera into fun and creative theater – despite the relatively corny plot which unfolds on stage. In addition, it is constantly claimed, and with good reason, that Mozart’s music for this opera is some of the most sublime ever created by an opera composer. This does something about the opera’s somewhat short-sighted characters in a way that is not so easy to put into words. Tame and bland ART OF SEDUCTION: Ferrando and Guglielmo set out on their fiancees – disguised as outcasts. From left: Frøy Hovland Holtbakk (Fiordiligi), Kari Dahl Nielsen (Dorabella), Eirik Grøtvedt (Ferrando) and Guglielmo (Magnus Ingemund Kjelstad). Photo: ERIK BERG Under Danish Katrine Wiedemann’s direction, the focus is not primarily on “Così fan tutte” as a virtuoso genre comedy with unexpected and enigmatic depths. Rather, the director’s main idea seems to be that this opera says something important and relevant about the price we pay for trusting blindly in love, while at the same time ignoring unruly sexuality. Wiedemann considers “Così fan tutte” – of all operas! – almost like a realistic social life drama. The result has been a performance that gets lost in some stuck-on and sought-after moves that are meant to emphasize the opera’s human insights – at the same time that it completely forgets that “Così fan tutte” needs a developed comic stage language to come to life at all. Of course, a number of entertaining things happen along the way, it’s sort of unavoidable. But for the most part, this set-up is so tame and bland it’s almost unbelievable. IN THE PARK: Frøy Hovland Holtbakk (Fiordiligi, TV) and Kari Dahl Nielsen (Dorabella) Photo: Erik Berg / DNOB To emphasize: The point, of course, is not that we should sit and laugh at nonsense and silly things in between all the fine music of Mozart. The point is, on the contrary, that a production must combine a thought about relevance with a look at what Mozart and da Ponte actually do. However, Wiedemann seems uninterested in whether the music is elaborately trivial or painfully beautiful. When all elements of caricatured theatricality are underplayed, the moments of genuine fervor do not stand out clearly as contrasts either. At the same time, Wiedemann is no tighter than that she cuts no less than three arias in the second act. When two of these in particular are in the more cheerful direction, the impression is reinforced that Wiedemann is not interested in the comedy dimension of “Così fan tutte”. On the contrary, it seems that the ambition is to create psychological chamber music with Mozart as background music. Anonymous scenography LØFTERIKT: The performance opens at IKEA’s pick-up warehouse. TV Audun Iversen (Don Alfonso). From center to right: Frøy Hovland Holtbakk (Fiordiligi), Magnus Ingemund Kjelstad (Guglielmo), Kari Dahl Nielsen (Dorabella), Eirik Grøtvedt (Ferrando) and Birgitte Christensen (Despina). Photo: Erik Berg An equally disappointing aspect of the performance is Maja Ravn’s scenography, which consists more or less exclusively of video projection. One would think that this provided virtually endless opportunities to put the action, literally, into perspective. It must be said that the opening scene at IKEA’s pick-up warehouse is both spectacular and full of promise. However, it does not take long before the stage images become as tame and predictable as the personal direction. Most of the scenes unfold in front of anonymous backdrops: a park, a hospital corridor, a traffic machine, a cul-de-sac. It’s as if this show does everything it can to avoid anything that smacks of wit, excess and creativity. Potent resonance If this nevertheless turns out to be a memorable evening in Bjørvika, it is because, from the show’s pale stage expression, some voices emerge that fill the national opera with beautiful and potent resonance. Until the summer, this performance is cast with an all-Norwegian ensemble of soloists, most of them young and on the verge of entering the grand opera world. Three of them are current or recent soloist trainees at Den Norske Opera og Ballett. Eirik Grøtvedt has a great baritonal (dark) and powerful tenor voice, and at the same time a striking lightness and flexibility in the light register. His soulful expression perfectly suits the role of Ferrando, the more sensitive and poetic of the two officers. Frøy Hovland Holtbakk’s soprano is perhaps a little light and light in the role of Fiordiligi, but this is never experienced as a problem. Holtbakk has strength in the top register, and maneuvers effortlessly through the breakneck parts of Fiordiligi’s two great arias. WELCOME: Eirik Grøtvedt (Ferrando) and Frøy Hovland Holtbakk (Fiordiligi). SEDUCTIVE: Magnus Ingemund Kjelstad (Guglielmo) and Kari Dahl Nielsen (Dorabella). POETIC: Eirik Grøtvedt (Ferrando) and Frøy Hovland Holtbakk (Fiordiligi). Baritone Magnus Ingemund Kjelstad does have to fight for a place in the larger ensembles, but shines when he is given room to unfold. The big duet with Dorabella in the second act was really, well, what can I say – seductive. And when we first talk about Dorabella: mezzo-soprano Kari Dahl Nielsen is nothing short of brilliant in this role. The sound is beautiful and the expression fits like a bullet. All the more pity that Dorabella’s only aria in the second act has been cut. Too thin A solid and charming group of soloists cannot, however, correct the impression that this is a performance that does not hit the mark. Nor that the Opera Orchestra plays with flair under the direction of Tobias Ringborg. When the choral parts are additionally either cut or sung on tape, the impression that this performance is simply a bit thin is reinforced. It would certainly be nice if an evening at the opera could provide the answer to some of the challenges of love life. It turned out to be too good to be true in this particular case. news reviewer Photo: Adam Olsson Title: “Così fan tutte” Venue: The Norwegian Opera and Ballet Music: Wolfgang Amadeus Mozart Libretto: Lorenzo da Ponte Musical direction: Tobias Ringborg Director: Katrine Wiedemann Set designer: Maja Ravn Costume design: Maja Ravn Lighting design: Åsa Frankenberg Video designer: Søren Knud Choirmaster: Martin Wettges Cast: Frøy Hovland Holtbakk (Fiordiligi), Kari Dahl Nielsen (Dorabella), Magnus Ingemund Kjelstad (Guglielmo), Eirik Grøtvedt (Ferrando), Birgitte Christensen (Despina), Audun Iversen (Don Alfonso) , Klemetti Logrén & Julia Kutsukake (child extras), Opera Orchestra Date: 21 May–10 September
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“Così fan tutte” at the Norwegian Opera and Ballet – Reviews and recommendations
