Così fan tutte maybe, but “thus” do not all producers. That is: they do not usually have all the respect, taste, modesty and confidence even to set the opera in its own (and right) time and place. There is still plenty of work for the producer in seeing that the whole thing goes with style and good judgement. And that is exactly what Roberto de Simone has done here, supported by an excellent team of designers for sets, costumes and lighting. All is deft and ingenious, but above all, right for the music and libretto and a pleasure to look at.

All six principals give performances worthy of the Vienna house, which, after all, has standards in Mozart. Barbara Frittoli exceeds (my) expectations, so much so that one might conclude that Mozart suits her better than the Verdi in which we more often hear her. Angelika Kirchschlager has a good comedienne’s face: one waits for it to change from “dumb” to knowing. Michael Schade too brings a welcome sense of fun, as well as vocal elegance, to his role. As for Bo Skovhus, he appears to be too goodlooking for this world, the only objection being that with such features and such a mass of ginger hair, his Albanian disguise is far from impenetrable. Monica Bacelli is a spry, if toothy, Despina, and Alessandro Corbelli makes a lovely Alfonso, the master of underplayed humour, sly and cynical but endearing too. The ensemble work is polished, the arias and duets technically able and tasteful in style. The “calm seas and prosperous voyage” trio is beautifully sung – and most beautifully accompanied. Any apprehension arising out of news (reported on the box-cover) that Muti’s conducting was praised for its “rapidity” prove needless: the other terms, “freshness” and “wit” are perfectly justified.