Cosi Fan Tutte is a wonderful opera and one of Mozart's best, being gripping in the psychological way it deals with its characters and relationships, funny, dramatic and with some of the most beautiful music Mozart ever wrote(Soave Sia Il Vento especially). Michael Haneke is a talented film-maker, but admittedly there was a bit of intrepidation on my part, could a well-known director direct an operatic masterpiece and do it without disgracing it? Well, on the most part Haneke's realisation of Cosi Fan Tutte works. He can characterise the characters a little too cruelly at times(though the the-characters-are-not-always-what-they-seem approach is admirable and somewhat truthful), especially with not having Ferrando and Guglielmo in disguises and showing their true feelings too early(which in a way is at odds with the libretto) and admittedly some of the performers are better actors than they are singers. But it is a very elegant-looking production- while not being over-complicated- with a simply and handsomely-furnished big lounge with a window at the back, and the costumes are tasteful(a mix of traditional and not-so-traditional). Haneke's staging handles the comedic aspects wittily and amusingly and the dramatic aspects in a contrastingly heartfelt way. And I really liked what he did with Don Alfonso, the character always did strike me as a puppeteer of the action and that is how Haneke does it and in a sinister but cool way. The buoyancy and delicacy of the orchestral playing makes the music even more of a pleasure to listen to, while Sylvain Cambrelling's conducting allows that to come out while matching what is going on on stage. It was really nice to hear and see the recitatives being given more prominence. Annette Frisch shows the charm, romantic longing and devil-may-care characteristics of Fiordiligi with utter conviction and also has the best voice of the cast, capable of brightness and warmth. Paola Gardina also has a very attractive if light tone and is both deadpan and sophisticated(when Dorabella softens later on). Juan Francisco Gatell sings sweetly and lyrically and is a charming Ferrando, while Andreas Wolff also has the right approach to his singing and acts with vitality. Kerstin Avemo is youthful, scheming and charmingly lively Despina, but sadly also the weak link of the cast vocally, good middle but her top needed evening out and the lower register is lacking in presence. William Shimell's Don Alfonso is spot-on, every bit the world-weary cynic while not being too jovial like Nicolas Rivenq or too wicked like Bo Skovhus. His voice is not great(a little dry at times) but it's more than serviceable. Overall, there have been better Cosis but Haneke's take on it was interesting and very enjoyable still. 7.5/10 Bethany Cox
