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A sterling revival of Jan Phlipp Gloger’s production of Così by Oliver Platt. More of a meta-interpretation to be honest, as Gloger deconstructs Mozart and Da Ponte’s curious masterpiece with a precise scalpel. He opens with the curtain calls following a performance of Così, which segues into a new cast emerging from the audience to embark upon the same opera, which we then watch. The artificiality is sustained throughout. Multiple settings come and go – a bar, a station platform, the Garden of Eden, Covent Garden’s Crush Room itself, as Don Alfonso puts his four young lovers through the mangle with the help of Despina. It is at times confusing; who is playing it straight and who is acting. Sisters Fiordiligi and Dorabella have agency here and obviously see through their lovers’ feeble disguise, so why bother. Gloger is telling us that everyone is acting at some point, trying to convince others and often themselves, being challenged by their feelings and at times subsumed by their unexpected emotions. Fiordiligi sings ‘Come scoglio’ as an act of virtue signalling but by ‘Per pietà’ has caved in upon herself: Dorabella’s ‘Smanie implacabili’ likewise starts as bravura but develops into genuine distress. Ferrando is as overcome by his feelings for Fiordiligi as we are by their musical expression. Guglielmo holds out the longest but even his cocky self-assurance takes a knock.

Jennifer France (Despina) in Così Fan Tutte | Photo credit: PH

Adding an unexpected existential twist was the Ferrando, Daniel Behle, being unable to sing due to indisposition but who acted the role whilst Anthony Gregory sang from one side of the stage. On the opposite side was the impressively tireless BSL interpreter Wendy Ebsworth, (alone worth watching), so even an aria developed into a three-way partnership. Gregory turned out to be impressive, with Un’ aura amorosa and duet ‘Fra gli amplessi’ both demonstrating some ethereal hushed tones. Andrè Schuen was suitably more bombastic as Guglielmo, the most overt character. Golda Shultz and Samantha Hankey made house debuts as the sisters. Schultz’s Fiordiligi crumbled exquisitely, her shimmering soprano fearless in the role’s awkward jumps, her legato impeccable, her facial expressions a treat. Hankey emoted mercurially as Dorabella, jumping in before considering things and paying the price. Her mezzo is compact and vibrant, but she slightly over sang ‘Smanie implacabili’, going a touch sharp; otherwise, wonderful. Gerald Finley pulled the strings as Don Alfonso, not as overtly cruel as some, more sardonic, perhaps slightly weary. Jennifer France’s Despina was small but focussed of voice and large of personality, with a good knack of judging when to hog the limelight and when to recede. Alexander Soddy conducted an historically informed performance albeit on modern instruments; fleet, accurate and discreetly decorated, with particularly impressive horn playing. Fun and food for thought.

Until 10 July | More info can be found here