Cosi fan Tutte

Usher Hall 10/8/24

Scottish Chamber Orchestra Maxim Emelyanychev conductor

SCO Chorus Gregory Batsleer chorus director

Soloists

 Every Festival, there is a one-off concert or event which represents the heart or the essence of a particular year. We have reached it very early in 2024 with the most stunning performance imaginable of Mozart’s often problematic opera, ‘Cosí fan Tutte’ (All women are like that!).

Played across the expanse of the stage and organ gallery area of the Usher Hall, with no props or costumes, in an improvisatory semi-staging, worked out by the singers themselves, and with the clear and highly imaginative collaboration of the conductor, Maxim Emelyanychev, this was simply the best performance I have ever seen of Cosí.

You may say that modern critics are always over-praising contemporary events, lacking the historical and geographical hinterground to make such sweeping statements, but as an opera singer myself, and an opera-goer of over 50 years’ experience, I cannot remember a Cosí of such wit, tenderness, pathos and musical quality. Each role was perfectly cast, both vocally, visually and theatrically, and the SCO was in world-class form under the mercurial direction of Emelyanychev, who directed proceedings from the fortepiano.

I have written in the EMR Blog about my problems with the opera in contemporary society in 2024, and with the central figure of Don Alfonso, a man of no morals or scruples. In the magisterial hands of Christopher Maltman, his many failings were utterly superseded by his wit and his bonhomie, and by the richness of his singing. His genial conniving and his scandalous trickery were revealed to be only jolly banter, teaching everyone a lesson in life to be laughed over at a later date. There was no hint here of suicidal trauma or racial tension, as so many contemporary productions try to push us towards. There was, in other words, no attempt to impose a concept, laced with modern angst, on Mozart’s and Da Ponte’s masterpiece. Deo gracias!

Golda Schulz, the South African soprano, sang Fiordiligi magnificently, and played this complex character with charm, fortitude and pathos. From her great aria, ‘Come sgoglio’ (like a rock), where she sets out clearly her strength of will against any seduction attempt, to her melting acceptance of Ferrando’s charms, she portrays this fascinating character as she fights with her own feelings and contradictions. Her singing of this notoriously difficult role was exceptional, and I loved the way she sketched in the low notes which Mozart gave to the singer, creating a continuous chain of sound from top to bottom, rather than pulverising the lower register. Very classy singing indeed.

No less classy was the thrilling mezzo of the American, Angela Brower, as Dorabella, the flightier sister, who gives in much faster to the enthusiastic wooing of Guglielmo. The contrast of the two sisters’ voices was particularly exquisite, especially in the charming duet when they decide which Albanian they fancy.

As Ferrando, the young Canadian tenor, Josh Lovell, gave us the finest singing of the evening, his easy mellifluousness matched by superb technique, and his charming portrayal of the cool dude, loyal but flirty, was a pleasure to watch. The famously fiendish aria, ‘Un’ Aura Amorosa,’ was sung with such apparent ease that one could simply sit back and admire the flawless singing in awe.

His rival and friend, Guglielmo, was also terrifically acted and sung by Huw Montague Rendall, a brilliant young baritone, suave in looks and honeyed in tone.

In a perfect cast, one can’t expect anyone to stand out, but the Despina of the South Korean soprano, Hera Hyesang Park, proved the star of the show. Beautifully acted, funny and charming, splendidly sung, this was a great portrayal. Despina can be insufferable sometimes, but here she was just terrific, flirting with the chorus, the conductor and the audience.

Indeed the interaction between the stage characters and the conductor were a great part of the success of the evening, Emelyanychev directing with bravura and elan, and improvising on the fortepiano to great effect. It was just a fabulous performance!