SEEN AND HEARD INTERNATIONAL

Fiordiligi: Soile Isokoski
Dorabella: Laura Polverelli
Despina: Marta Ubieta
Ferrando: Topi Lehtipuu
Guglielmo: Frank Leguerinel
Don Alfonso: Lorenzo Regazzo

Nowadays Così Fan Tutte is a work that can be considered as part of the main repertoire, although it does not enjoy the popularity of other Mozart operas, like Don Giovanni, Nozze di Figaro or Zauberflöte. Nevertheless, in Bilbao Così Fan Tutte is not particularly popular and has been staged there by ABAO on only on one occasion some 10 years ago. The only other performance in Bilbao was by an opera company from Eastern Europe touring Spain almost 15 years earlier.

Last time we had artists such as Barbara Frittoli and José Bros, and here the main interest was based on the presence of Soile Isokoski, and the more than emergent mezzo - soprano Maite Beaumont, in addition to the prestigious orchestra Al Ayre Español with their leader Eduardo Lopez Banzo. Unfortunately, Maite Beaumont cancelled due to apparent health problems, although many rumours were running arounf on the subject of her cancellation. ABAO took the decision to substitute her for her cover, which could have been a more than acceptable solution if it were a cancellation at the eleventh hour, but this was not the case, since the decision was taken not less than 10 days prior to the premiere. When you have to pay over 150 euros for a single ticket, it is not a good policy to substitute a well known singer for an understudy, even one who has been singing comprimario roles (Priestess in the last Aida) for many years. Some readers may remember what Peter Gelb did in New York in October, when Joseph Kaiser cancelled Romeo just one day before the performance. Instead of taking the cover (Raúl Melo) he had Marcello Giordani step in the role. I think that there is a big difference in the way of solving cancellations between New York and Bilbao and how both managements decided to protect the interest of their customers. Despina is not very difficult to cast and the general conclusion locally is that ABAO decided to take the easy way out.

Michal Znaniecki's production, from the Opera of Wroclaw, transfers the action to the present. It's very lively and colourful, with frequent changes of scenerey. The sets are modern and attractive, from the Barber's shop of a “mannered” Don Alfonso to the Ferrarese ladies' modern house , complete with gymnasium, swimming pool, kitchen and bedrooms. The costumes are always in very bright colors and there is matching, very good lighting. The production's biggest problem comes from the fact that Mr. Znaniecki tries to convert this fine satire into a comedia buffa, with childish gags, which are supposed to cause outbursts of laughter from the audience, nut raised not a single smile. His peculiar stage direction looks like a kind of “perpetuum mobile” with lots of extras appearing whenever Mozart puts in one of his beautiful arias, which disturbs attention from both the music and the singers. This was particularly evident in both Fiordiligi arias. “Come Scoglio” was sung alongside constant movement by the three men on stage, while “Per Pietá” was accompanied by a large procession of superfluous people. Recently I read an article about stage direction in Europe and Germany in particular. It said: “The audience's attention must be on anything except the person who is singing. A solo aria, outmoded even in the last century, must be accompanied by extraneous characters expressing their angst in trivial ways near, on, or about the person singing the aria” Whoever wrote this article must have seen this production and if Mr Znaniecki revised it radically the whole thing would work much better.

Eduardo Lopez Banzo is a musical Director who loves baroque music deeply and has made his Orchestra one the best for music of this period. Like some of his colleagues, he is little by little incorporating music of the classical period into his regular repertoire. Watching him in the pit however, one realizes that his roots are in concert performances, since his attention is mostly on the orchestra, paying too little care to the stage. He was lucky to have a group of very expert singers in this opera, but I am afraid that the second cast, mostly youngsters, could have more a few problems. There was nothing wrong with his reading of the score, which wa bright, alive and sensitive with a wonderful sound coming from the period instruments. So as a conductor, this was a good debut but as Maestro concertatore, he showed some lack of experience and there were many ensemble problems, particularly with the Chorus.

Finnish soprano Soile Isokoski's Fiordiligi woul be difficult to better. She is a great soprano who shines in Mozart and Strauss and she offered an outstanding interpretation in the difficult “Come Scoglio” and “Per Pietà”. She is one of those artists who makes the most difficult parts seem easy, such is the fluidity and naturalness of her singing. Also convincing was Laura Polverelli as Dorabella. Both vocally and scenically she was an eloquent interpreter, although not quite reaching the same level of perfection as her “sister.”

Marta Ubieta made an effective Despina, although logically she is not at the same level as her colleagues. This could be an important step in her career for any opera lover knows that an outstanding Despina get's the lion’s share of audience reaction. While this was not not quite the case for Ms Ubieta, she deserved the warm applause that she received.

Another Finn, Topi Lehtipuu, was Ferrando and he too was a convincing interpreter. His voice is very suitable for the needs of the role and he was at his best in “Un aura amorosa” though not quite so good in “Tradito, schernito.”

The Frenchman Frank Leguerinel made and acceptable Guglielmo, particularly with his acting but he probably could have been better cast as Don Alfonso than Lorenzo Regazzo . He was eloquent enough in the role although not vocally convincing. Being still young, his bass baritone is a little worrisome and he seems to have lost some of his former brightness.

As usual, the theatre was sold out. The audience gave a rather cool reception at the end of the opera with polite applause for Mr.Znaniecki had after some half-hearted attempts at booing. The warmest applause was naturally for Ms.Isokoski and the Orchestra.


José M. Irurzun

Pictures © ABAO and E. Moreno Esquibel