With a cabaret‑style opening where the ensemble plays a word game to explain the title, English National Opera’s Così fan tutte returns to the London Coliseum this week. The production immediately catches the eye through its meticulous design (Tom Pye) and glamorous costumes (Laura Hopkins): an NYC‑style jazz club for the old philosopher Don Alfonso (Andrew Foster‑Williams) to prove his wager on female infidelity; a Mean Girls/Grease‑style American motel becomes the chambers for the two sisters; and a theme‑park coffee‑cup ride offers the boys a chance to enact their “test of love”, where the merry‑go‑round serves as a not‑so‑subtle metaphor for lust.
Regrettably, the concept works only as a backdrop, barely providing any dramaturgical alteration. For instance, it casts the ensemble as a circus within this theme‑park wonderland, which should already be rich and juicy, given that circus is immediately associated with trickery, deception and illusion. Imagine if Dorabella and Fiordiligi, as part of the circus, became able to counter‑play their boyfriends’ plotting; then this somewhat misogynistic legacy of Mozart could have become a bit more playful, flirtatious and gender‑balanced. Just like the Met Opera–Royal Opera House co‑production, where Dorabella and Fiordiligi are cast as actresses always hanging around backstage, thereby justifying their early realisation of their men’s plotting in Act II. Unfortunately, this ENO production stops short.
Lucy Crowe OBE delivers a vocally stunning Fiordiligi. Her voice is sweet and mellow, but still possesses underlying warmth and body, just like Fiordiligi: not yet fully a woman, but more than a girl. Even within the ensemble, Crowe’s voice remains unmistakably recognisable. Taylor Raven makes her ENO debut as Dorabella, while Joshua Blue and Darwin Prakash join the sisters hand in hand as Ferrando and Guglielmo. Ailish Tynan’s Despina steals the show not only through her striking, memorable high notes, but also through her acute way of performing. Beneath a slightly exaggerated physicality, Tynan captures Despina’s Miss Quickly‑like secular wit and sophistication. Conducted by Dinis Sousa, the Orchestra of ENO shapes the score as merry and theatrical, tellingly conveying a story with mischievous plotting but a happy‑ever‑after ending.
Directed by Phelim McDermott, English National Opera’s Così fan tutte is overall light‑hearted, easy‑listening and easy to enjoy. Opening one week prior to Valentine’s week, this opera buffa offers an amiable option for your V‑Day calendar. However, if you are seeking something more contemporarily inspiring and less misogynistic, you may find it only just satisfactory.
Listings and ticket information can be found here
