Così fan tutte at La Scala
Oscillations of A Reality Show
La Scala’s “ideaphoric” Così fan tutte
“How television stages the world becomes the model for how the world is properly to be staged.”
Neil Postman
Realities of Conjecture
For so many reasons, especially today, it is certainly more than a curiosity to ask ourselves what Wolfgang Amadeus Mozart would have thought of this Robert Carsen staging of Così fan tutte for La Scala. It would be slightly hazardous to believe that we might sense the composer’s reasoning powers or even imagine the demands he had put upon himself while creating any of his great works. Albeit conjecture, there is always an element of truthfulness within that great man’s soul that touches upon our collective unconsciousness, sensed through outpourings of emotional needs so poignantly expressed that any dramatic situation points back to that singular artist’s sentiments. Thus so, Mozart, a man of the theatre par excellence, reaches us through human situations as represented in almost identical ways in every one of his operas. His manner of capturing a character’s desperation as brought about by love’s insecurities through guilt or abandonment lies somewhere between the sound and the word, vibrations within rhythms of a heartbeat – ‘Porgi amor’ (Figaro), ‘Ach, ich fühl’s’ (Zauberflöte) and ‘Per pietà, ben mio, perdona’ (Cosi).
The immortal Mozart-Da Ponte collaborations are traditionally discussed together as they belong to the ‘dramma giocoso’ genre, works outwardly intertwining the sentimentality of pathos and cheerfulness in leading to propitious resolutions. Yet they also manifest intrapersonal relations of ‘social’ presence in different ways. The principle character in Don Giovanni is a tragic figure that society seeks to punish for his libertinism while the crumbling bourgeois order will give way as all men free themselves through an oncoming Revolution. In Cosi fan tutte, all is more complicated as we are made aware of a delicate, lace-like superficiality through a philosophical game examining man’s moral nature as guided by the principle of fidelity. All is truly an experiment unfolding before our eyes, and scientific proof is supported as psychological turmoil through the mechanisms of theatrical reality, recalling that the libretto of this opera is idiosyncratic as it is the only one not based on a literary source. Thus, Da Ponte’s free invention upon invention abounds, resulting in a spoof, a comedy of manners which, however, Mozart at times treats with quite serious sentiments – the Terzettino ‘Soave sia il vento’ being a prime example. Cosi fan tutte, obeying the plot of a pair of double lovers switching identities through disguise as occurs often in Shakespeare and Goldoni, does seem indeed to be that one unbelievable, absurd opera in all Mozart that is carried to extremes. Even Pirandellian undercurrents appear using disguise to contrast appearance and reality, as to create a theater-within-a-theatre structure. Be it so, it is an opera that calls for refinement at every turn, representing as it does the essence of the Enlightenment and the impetus of oncoming Romanticism. On the stage, therefore, it should not ever succumb to banality, low-brow trickery, or unabashed maneuvering, and must avoid modernity for modernity’s sake.
A Stage Video of Illusion
The curtain rises prematurely as the Overture has just begun, and we are immersed within a ‘televised’ stage representation of a reality show, all decked out in baby blue and pink, perhaps representing the boys and girls who will one day grow and enter into that everyday battle-of-the-sexes game, or perhaps more so, to find themselves on one of those many popular ‘couple’ shows. Through that fourth wall proscenium, we observe a series of indoor and outdoor spaces, the characters sifting into and out of them with ease upon a rotating dais – all however always hinting at that TV studio hosting their version of Big Brother, one making us eerily imagine that we are part of the action, as if trapped within an episode of The Truman Show, which will here ask us to partially renounce our sense of reality in an ever-dangerous game.
This Così fan tutte at La Scala has little to do with those concoctions of a pure Regietheater which almost always create perplexities when the direction heads towards the smashing of idols through irreverence for tradition. Often, though, there is nothing new if compared to a vintage production some opera devotees may have seen or heard read about, that landmark 1974 Metropolitan Opera staging of some 50 years ago – Bartok’s Bluebeard’s Castle set within an airplane hangar! Though liberties were taken by Carsen in alternating historical periods, along with some word changes to fit in with modified interpretations, all remains conventional. Rightly so, as the central plot of the Da Ponte-Mozart opera treats upon the validity of the premise that, if given the chance, all men and women will remain unfaithful in love. The television quiz-master plays God in delineating the rules of the game, while also chastising others and bragging of his wisdom of human nature, here more sardonic than philosophical, distancing himself that paternal educator, Jean-Jacques Rousseau.
Lounge-bar with Nespresso Coffeemaker
Be it then a TV studio hosting a quiz show, The School for Lovers (faithful to the opera’s original subtitle), the staging must somehow follow the action as set down by Da Ponte and Mozart. All is wisely plotted out by stage director Carsen, collaborating on the scenery and lighting, and the almost psychedelic tones of the studio set do highlight the infantilism splattered upon the three rotating sets, all bringing to mind what we see daily within TV’s artificial never-never land. We move from the live show to a lounge-bar with a micro-wave oven, fridge, Nespresso Coffeemaker, magazines. Perhaps, the year is 2000, as the star singers are equipped with I-phones, if only to show other girls screenshot photos of their lovers. Outdoor scenes make one suspect the artificial, depicting a film set of sorts, and we move from a dock with an aircraft carrier departing for war to a poolside oasis to a Mediterranean patio overlooking an island, perhaps Capri, and finally, to a garden with gazebo set for a wedding. Dressed as the singers, chorus and actors are, all is too casual, stylized, as, too, that touch of computer graphics makes us suspect the validity of it all. Add to this the physical movement of the singers and actors in what would be operatic in terms but for their 1960’s jumping about from one moment in history to another. On the dock, we are in full preparation for the celebratory tearful good-byes, but in Broadway musical style. There are sixteen gymnasts in sweat suits ‘working out,’ no, more so ‘dancing’ to the music and chorus of a spirited military march; then all switch gear to a gracious slow-motion ballet as the ‘sailors’ Guglielmo and Ferrando bid Fiordiligi and Dorabella adieu. In other scenes, stage mimes will dance gaily to Mozart’s melodies as if reacting to a jukebox blasting Chubby Checker’s ‘Let’s Twist Again.’ Carsen here, and elsewhere, seems to want to ensure an enjoyable time for all the audience, but can only succeed halfway as any attempt to juxtapose Grease with the elegance and clarity of the Classical period must prove to be an overwhelming challenge.
The Challenges of Anachronism
All the music in Cosi fan tutte, is conditioned by one distinction – the ideal representation and fragility of human love. The Overture itself begins with masculine thumps, sweetly answered by a cajoling feminine melody on the oboe. As is by now an obligatory routine in today’s operatic productions, the Overture is staged, mimed out. The Così-fan-tutte leitmotif is accompanied by cheek-kissing between the Master of Ceremonies, alias Don Alfonso, and his co-host, Despina. Moments later, he gets off his make-up chair to scold her, yet we will never know why (be it jealousy, a question of power, simple tension before the broadcast). The arriving TV audience of actors hobble to their places, seemingly confused, as if it were their first time on air. Ten contestant couples arrive, blowing kisses to the telecamera in a narcissistic manner.
Fonzie-type figures with slight moustaches
The rules of the game are projected, and two couples are selected to begin the challenge. Love is at stake. What has by now treated Mozart’s music as a soundtrack gives way, and the opera begins.
All through the opera, this mimicking becomes unbearable to watch as every phrase is met with gestures that resemble those of a silent film dated 1920. We must concentrate on catching everything, whether it is important or not. The major error, especially for an opera like Così, lies in the apparent need to explain everything that has been already stated, or worse, manifesting inner feelings when listening to another by way of grimace, attacks of painful neck contortions, or sinking to the floor when asked to have patience. This is not comedy, and it leaves no place for irony. Thus, Carsen’s Così fan tutte staging must be classified as one of ideaphoria, and unnecessarily so. As we will soon discover, the thought of setting the opera within a reality show wears thin as the use of technology as seen here no longer holds our curiosity through scenes wherein the music must remain paramount. The greatest fault of this mise-en-scène is that epoch of Mozart disappears as the character of the music cannot adapt to its surroundings, not does the text penetrate our emotions as it arrives diminished, unpolished. Da Ponte’s language can only resonate today if it is assimilated, connected to its original ambiance in some way. Let is remember that Carsen is surely a fine stage director, and has brought us many wonderful productions, yet one surmises that he might feel almost obligated to cater to that public of today, assuring them pure entertainment, and at all costs.
Examples of this abound, and we question the humor to be found in having Fiordiligi and Dorabella reading Manzoni’s The Betrothed. The departing sailors for that ‘imagined’ war leave their lovers with their dog tags as souvenirs of their affection, but we know this cannot be as soldiers who might die in battle will have these stripped from them for identification. Then, too, the girl’s portraits of their sweethearts appear again, no longer as mobile phone images, but now as 18th century neckless lockets. Worst of all, the boy’s disguise transformations into Albanians, or whatever variation we might have seen in various Così productions, is almost totally lacking here; we see two cool, Fonzie-type figures with slight moustaches, longer hair and dressed in black, with Guglielmo assimilating a member of the Hell’s Angels – how the girls do not recognize them is beyond belief. Unbelievably, they even arrive for their wedding in these same clothes. The suicide scene by use of giant plastic bottles of pool chlorine is exaggerated, and its climatic ending, wherein the entire scene becomes an LSD trip, half-orgy, with video depictions of nature’s images going hallucinatory, diminishing what should a Mozartian hurricane of sound representing chaos, as happens in Opera Buffa settings alla Rossini. Sadly, much of the original intentions of Da Ponte-Mozart go awry; here we are witnessing another opera.
Stylized Intuitions
The musical side of this production fares much better through the conducting, orchestral playing, and choral presence. Alex Shoddy seems to have flown through the score, yet its overall timing is in line with almost every other Così performance recorded or staged. He demonstrated an infinity with the dramatic action, whether it called for highlighting a sense of fun, creating irony in underlying the ‘double sens’ of key moments or investigating the bitterly sardonic situations, especially as related to Don Alfonso. His playing from the ‘fortepiano’ was forceful, inventive, colorful, and accented, psychologically revealing the character’s emotions. We discover the balances of a Mozart Wind Divertimento or Serenade. Wonderful, really. The orchestra followed Maestro Soddy with elan and aplomb, sparkling at times on their own in expressing Mozart’s lightness, shimmering beauty, and controlled phrasing. The chorus too fell into line with both the staging and shaping of every phrase in a clear manner.
The singing was cause for some disappointment. It seemed that each voice, with moments of exception, was not quite right for the roles at hand. This occurs also when too much is asked of them scenically, or perhaps a non-believing in the way their roles must be played. Though slight, the sensation was that their acting movements took away from a relaxing, naturally breathing, convincing performance. Don Alfonso’s voice (Gerald Finley) was well-paced, and his elocution brilliant. Perhaps, Carsen could have sprinkled him with nuance, displaying cunning and acumen when dealing with others, as would an ageing, skeptical philosopher. Despina (Sandrine Piau) needed a bit more vocal power and variety in executing her multifarious duties, bringing off the sprightly role of a true soubrette. The sisters were better acclimated, and their voices somewhat right for their roles. Their bravura lay in their ability to go with the flow of the ever-changing nuances of the many duets and trios. The vocal highlight was Fiordiligi’s aria ‘Per pietà, ben mio, perdona,’ (Elsa Dreisig) sung within the closed quarters of the quiz show, seating upon a confessional chair. Dorabella (Nina Van Essen), too, carried off her arias and many duets well, lacking just a bit of in-depth characterization. The boyfriends performed well, though the staging did them no favors by in some way isolating them from themselves. The singing of both Guglielmo (Luca Micheletti) and Ferrando (Giovanni Sala) was measured, full of energy, yet their arias lacked a bit of breadth and natural 18th century beauty.
The costumes were a motley hodge podge
As for the technical squad assembled by Carsen, all that seemed less successful was due to the staging’s requirements. Video images Renaud Rubiano upon La Scala’s sprawling stage were effective, yet routine by today’s computerized effect standards. The costumes (Luis F. Carvalho and Carsen himself) were a motley hodge podge of little interest as they brought back the casual clothing of the 1960’s, but also valid for 2000, or even today. The lighting (Peter Van Prat and again Carsen) took second place, soaked up under the lights of television studios and before giant video screens. The cute choreography (Rebecca Howell) could only distance from the world of Mozart, as did the entire production.
Any opera production must have one, perhaps two moments that will remain with the spectator long after. Mozart and Da Ponte gave us many such instances in their exquisite Così fan tutte. Robert Carsen, none. One thinks of the Rococo painting by Fragonard, The Swing, often associated with Mozart, his emotions, as well as his sense of playfulness. We see a husband pushing his gleeful wife through the air, unawares of her lover in the bushes just below. Così fan tutte!
Così fan tutte at La Scala
