Strong performances avoid Gloger's Così being buried by its own cleverness

Golda Schultz (Fiordiligi)
© ROH/Clive Barda

Jan Philipp Gloger (Director)
Oliver Platt (Revival Director)

Ben Baur (Set Designer)

Karin Jud (Costume Designer)

Bernd Purkrabek (Lighting Designer)

Katharina John (Dramaturg)

Alexander Soddy (Conductor)

Orchestra of the Royal Opera House

Sergey Levitin (Concert Master)

Royal Opera Chorus

William Spaulding (Chorus Director)

Jennifer France (Despina) and ensemble
© ROH/Clive Barda

Daniel Behle (Ferrando)

Andrè Schuen (Guglielmo)

Gerald Finley (Don Alfonso)

Golda Schultz (Fiordiligi)

Samantha Hankey (Dorabella)

Jennifer France (Despina)

Aquira Bailey-Browne, Lucy Brenchley, Chris Edgerley, Jamie Francis, John Kamau, Douglas Santillo, Josh Thompson (Actors)

Andrè Schuen, Golda Schultz, Gerald Finley,
Daniel Behle & Samantha Hankey
© ROH/Clive Barda

7pm, Wednesday 26 June 2024

Royal Opera House, London

★★★

Wolfgang Amadeus Mozart (1756-1791): Così fan tutte, ossia La scuola degli amanti, K588

(libretto by Lorenzo Da Ponte (1749-1838))

'The frequent set changes bring constant interest, with clever use of different levels of staging, and strong singing and acting performances from all make this great fun, if one lets go of it all making a great deal of sense'. 

'Golda Schultz was the clear standout here, negotiating effortlessly Fiordiligi’s extensive vocal demands, particularly in ‘Come scoglio’, with its range of over two octaves and massive leaps'.

Andrè Schuen (Guglielmo) & Samatha Hankey (Donatella)
© ROH/Clive Barda

'Daniel Behle displayed a beautifully lyrical tone, and played the less bombastic of the two men convincingly. In “Un’aura amorosa” he demonstrated incredibly delicate control at the top, as well as delivering a powerful sound when required.'.

'Jennifer France’s Despina was full of fun, with great comedic timing and clowning as the disguised doctor and notary, and was highly nimble vocally, with some cracking top notes too'.

'The Royal Opera Chorus were on fine form, with some subtly raunchy partner-swapping in the background, as well as delivering their pithy choruses. Alexander Soddy conducted with pace and precision, and there was some particularly fine horn and woodwind playing'.

Gerald Finley (Don Aldonso) & the Royal Opera Chorus
© ROH/Clive Barda 

Read my full review on Bachtrack here.