Mozart's Così fan tutte performed by the Nederlandse Reisopera on 12 February at the Theatre Carré, is far from playful. Xander Straat's direction has many pretensions that deliver little substance and a static picture. The momentum of this opera giocoso stakes in the music itself and in the formidable voices of the young soloists.
Unreliable women
Così fan tutte, or The school for lovers, tells four hours of the unreliability of women in love. The simple story is set between two sisters, Fiordiligi and Dorabella and their fiancés Guglielmo and Ferrando, who are played off against each other by the experienced Don Alfonso: he does not believe in the sisters' faithful love. Don Alfonso challenges his friends and a contest ensues. The fiancés pretend to go to the army but in reality they dress up as Albanians and tempt their own wives. From then on, the story revolves around the art of seduction. The listener is torn between instinct, passion and self-control. When the men feel almost triumphant that they have won, the women succumb and Don Alfonso is proved right.
Pale direction
Unfortunately, the musical winks are not supported by the set. Straat's direction comes across as pale. Afraid of appearing corny - and perhaps also because of limited financial resources - he opts for abstract images that are too far from the story. Styrofoam, glass balls and strings lack the finesse of the music. Street begins the performance with a speaker pretending to be Mozart, and while it remains a nice find, it too deliberately gives away what the director's intention is. The concept of open play, which the director in turn suggests in the programme booklet is not reflected in any of the soloists' interactions or actions. It is a pity that the playful contest lacks the sharpness of detail without consequence.
Impressive ensemble
The finer things are to be found in the ensemble, though. Canadian soprano Shantelle Przybylo creates the most believable Fiordiligi, as she seduces not only with her impressive voice but also with her acting skills. Alongside her, mezzo-soprano Anna Traub as Dorabella is the second star of the evening. The aria Un aura amorosa the young Russian tenor Yaroslav Abaimov manages to convey with all musical subtlety. Nina Leiderman also performs the vile Despina with great playfulness, along with Robert Davies, baritone as Don Alfonso. And last but not least the best can also be said about Nicholas Crawley, baritone only. Conductor Arnaud Oosterbaan sometimes lets Het Orkest van het Oosten stumble too much by opting for overly energetic tempi has chosen, making for plenty of momentum but less quality. Still, Mozart's music comes into its own, making a visit to one of the next 11 performances worthwhile.
English (UK) 
Nederlands 
Français 
