A Tale of Two Cosìs
It’s a case of Così, Così as West Australian Opera stages Glyndebourne’s traditional 2006 production of Mozart’s Così Fan Tutte, while a 14-episode, contemporary online production called Quarantine Così is delighting viewers. Harriet Cunningham explores why the two wildly different productions are both such hits, and asks how the misogynistic opera is received today.
The four container loads full of costumes, props and sets arrived in Perth just as the world went into lockdown. They’ve been sitting, untouched, for three months but now, at last, the team at West Australian Opera has begun the unpacking. The brocade-edged gowns,...
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I particularly enjoyed the 2016 Opera Australia production of Cosi Fan Tutte, and visually it was more beautiful than Glyndebourne production. Taryn Fiebig was the best Despina. The Jonathan Miller productions I found fascinating. I directed Louis Nowra play entitled simply Cosi and it was huge fun doing the choreography of the finale. I would not describe it as a misogynistic opera. It depicts misogyny, certainly but I don’t think Mozart sided with the blokes and after watching many productions it is always Fiordiligi, Despina and Dorabella that captivate me, not the chaps, even if their voices are superb, which they were: David Portilo and Andrew Jones.