Young opera artists provoke discussion

JENNY Miller returns to Longborough to direct Così Fan Tutte, supported once again by Janet Bruce’s sets, Hannah Lauren Whitham’s costumes and the reliable conducting by Gianluca Marcianò.

Miller transforms late 18th century Naples into a 21st century cinema with chorus members taking their seats during the overture.

The film scenario continues throughout with the giant screen hosting the largest surtitles ever on a background of Mount Vesuvius followed by a Coney Island-type big wheel and back again to Mount Vesuvius. Mozart would have enjoyed the symmetry!

These enlarged surtitles became the interval’s big talking point. Were they intrusive, were they an improvement on existing miniature side screens, naff or a leap forward in following the story? For many it was a relief not to need to look away from the action. For others, Così is such an uncomplicated story to follow, it was an intrusion.

Bruce’s simple, low-cost sets; uncomplicated lighting plots; pretty frocks for the enchanting girls and Marcianό’s confident hold of the orchestra signposted a performance of wit and irony which a full-house thoroughly enjoyed. Elizabeth Donovan’s strength of personality suited the role of Fiordiligi and Louise Callinan displayed appropriate emotional openness, especially the erotic-pastoral duet, as Dorabella, with both in good voice.

Longborough provides good opportunities for younger artists to break through into the bigger time. We will see these two again and again. Probably not so the men.

Clive Peacock