Nicholas Hytner’s production of Mozart’s Così fan tutte, seen at Glyndebourne in 2006, is about as traditional as it gets. The story is straightforwardly told and the settings and costumes are 18th century Naples, or at least some operatic approximation of it. That said, it’s immensely enjoyable and, just occasionally, goes beyond the superficial. The strength lies in the casting and in the director’s decision to allow his young singers to behave like young people. Miah Persson as Fiordiligi and Anke Vondung as Dorabella are close to perfect in their exuberant girlishness. Naturally Vondung gets to be a bit ditzier than the angstier Persson because that’s how the thing is written. Both of them sing extremely well too and there’s nothing lacking in the big solos or duets.
I think I’ve got used to David McVicar productions or, at least, what he’s produced in the last ten years or so. The director’s notes will sound erudite and convey the impression that he’s gained some vital new insight into a well known work. The actual production on stage will be almost entirely conventional with maybe the odd visual flourish but nothing to start the synapses firing. This is very much the case with his 2015 production of Die Entführung aus dem Serail from Glyndebourne. The “big idea” is that Bassa Selim is caught between two worlds; the ‘west” and the “east”. Well duh! This is as revelatory as pointing out that Mimi has TB. This “revelation” is the reason/excuse for presenting the work with dialogues unaltered and uncut. This is very much a mixed blessing. Yes, it does allow some character development that’s otherwise missing but on the other hand it emphasises the fact that without some interesting new angle Entführing is basically dramatically a bit feeble. Is she faithful? How dare he doubt it? Please forgive me. Why should I? Lather, rinse, repeat. Enter Osmin. Hang them. Impale them. Daggers and poison. Over and over.
Tchaikovsky’s Queen of Spades is a rather odd opera. It’s got some really good music but it’s dramatically a bit of a mess; it’s episodic and the plot contains highly implausible occult elements. The 2016 production at Dutch National Opera was given to Stefan Herheim to direct which is what piqued my interest. There are few directors as capable of applying some radical rethinking to an opera and coming up with something fully coherent. I think he manages it here.
Dmitri Tcherniakov is an interesting and controversial director. He’s not afraid to take a very radical approach to a work and that method tends to produce uneven results. At it’s best, as in his Berlin Parsifal, it’s extraordinary and sometimes; his Wozzeckfor example, interesting but perhaps not exactly revelatory, and,again, sometimes; as in his Don Giovanni, polarising. That said he never does anything merely to shock or show off. There’s always a logic to what he does and that’s certainly true of his quite radical version of Verdi’s Il Trovatore filmed at Brussels’ La Monnaie in 2012.
The 2016 production of Mozart’s Le nozze di Figaro from La Scala had me really puzzled after three acts. There’s nothing to help with the production in either the booklet or on the disk so I went looking on line. According to the Financial Times, Frederic Wake-Walker’s production replaced a much revered version by Girgio Strehler and is a sort of homage to him filled with references to other of his productions.
There are only two video recordings of Giodarno’s Fedora in the catalogue. There’s a classic 1996 recording from the Met and, now, a 2015 production from the Teatro Carlo Fenice in Genoa. The Genoa version, directed by Rosetta Cucchi, attempts to inject some serious ideas into the piece, which the Met production most certainly does not. Whether this is a good idea is questionable for Fedora, even though it contains some good numbers and some great melodies is, dramatically, about as clichéd as it gets. Cucchi attacks this problem in two ways. First, an old version of Loris Ipanov is on stage throughout observing the action and dies at the end. I’m not sure what this adds. Second, at various points a mime/ballet sequence is staged behind the main stage area. This seems like an attempt to link the narrative specifically to WW1 and the death of the Romanovs which seems odd as the ending makes no sense in a post-revolutionary context. So, I’m not sure the idea is sound and I’m not sure the piece would carry the freight even if it were. The rather quirky video direction by Matteo Ricchetti doesn’t help either as it’s often hard to figure out what is going on in total.
What’s Mozart’s Così fan tutte about? I doubt there’s a good answer to that question but one element of what it’s about is artifice. That appears to be Jan Philipp Gloger’s jumping off point for his Royal Opera House production filmed in 2016. I have pages of notes on how the setting changes and who is singing to whom about what at which point in the opera. It starts with the “cast”, in 18th century dress, taking a curtain call during the overture but it soon turns out to be a bit more complex. Dorabella, Fiordiligi, Ferrando and Guglielmo appear in the auditorium in smart modern dress as late comers taking their seats. Soon the boys are on stage in front of the curtain with Don Alphonso (for some reason dressed as a 17th century divine) while the girls hide in embarrassment behind their programmes.