"Cosi" but definitely not cosy!

Last night I watched on Sky Arts a filmed recording of the 2006 production of Cosi fan tutte at Glyndebourne directed by Nicholas Hytner.  Regular readers will be comforted to know that I am continuing the policy of Duff & Nonsense in writing on subjects of which I have very little knowledge, in this case, opera - well, actual expertise appearing on this site might give you all a shock!  Anyway, I think that with a few exceptions I can say honestly that I am not an opera fan but Cosi fan tutte is one of them.  I have seen one or two filmed versions and even one live, but it was a heavily cut, 'garden production'.  However, this production by Hytner immediately struck me as far and away the best I have ever watched.  Not knowing a crotchet from a quaver I cannot speak of the singing, although it sounded superb to me, but the acting was impeccable with admirable attention to detail.  The set and costumes and lighting were simply terrific.  I don't know if there is a DVD available but if there is then do yourselves a favour and buy one as a Christmas present to yourselves - you deserve it after ploughing through Duff & Nonsense so many times.

However, let me turn to the opera itself, or to be precise, the libretto written, in conjunction with Mozart, by Lorenzo da Ponte.  The entire story is paradoxical at every level - cynically idealistic, funny and sad, simple and complex, shallow and profound . . . and, well, I could go on.  The nearest I can offer you by way of comparison is Shakespeare's Troilus & Cressida, another play which makes you laugh but you leave the theatre feeling worse than when you went in!  Up until now I have loved Cosi but now I dislike it, and just to confuse you further, that will not stop me watching another production if I get the chance.

For those unfamiliar with the story, it involves two pairs of young lovers just engaged to be married who are torn apart by the men going to war but with everyone swearing undying love (as per Troilus and Cressida) until they return.  Enter the mysterious character of Don Alphonso, an older man and supposed friend of the young lovers.  He is Iago-like in that he is malevolent without motive and in this mode he urges the young men to disguise themselves and return as suiters to their fiancés but, and this is an extra touch of malignancy, each should woo the other's sweetheart.  We watch the mounting campaign by the two men who are so convinced of their ladies' virtuosity that they wager Don Alphonso that chastity will remain intact.  To begin with that is what happens and the disguised suiters are rebuffed but Alphonso, with the aid of a subversive maid, gradually increases the pressure on the ladies until, of course, they surrender.  At that point, the young men, by now distraught, are urged to pretend that they have returned from their mission and they 'discover' that their ladies have cheated.  Finally, all is revealed and, it seems to me, a somewhat half-hearted reconciliation ends the opera.

Now let me assure those who have never seen it that there is immense humour to be had out of this froth of mistaken identities . . . and yet . . . and yet . . . somehow, after a while, the smiles freeze on your face.  In the fake courting and wooing, the women are subjected to what can only be described as 'cruel and unusual punishment', and I for one don't like it!  What did they ever do to deserve such an onslaught?  And the men fare just as badly and, despite being somewhat doltish in accepting Don Alphonso's challenge in the first place, they come out of it battered and bruised and their innocently held faith shattered forever.  Alphonso's only justification for his cruel trickery is that it is better for all concerned to have the scales lifted from their eyes, something along the lines of "And the Truth shall set your free" - a prize piece of cant if ever I heard one.  We all (except the Alphonso/Iagos of this world) cherish our ideals even if, as we travel this rough old world, they become a bit bashed and battered along the way.  Sometimes, especially in matters of the heart, the idealism of youth gives way under the pressure of experience, to something better, something stronger, something more durable - something more precious.  And we don't need the malpractices of the Don Alphonsos of this world to bring it about.

I forgive Mozart (he will be pleased to know, I'm sure) because the music is sublime but not da Ponte.  I know nothing of the man but I suspect he was a shit!

 

Comments

[H]

I fear I must beg to differ. Da Ponte wrote the truly great and witty libretto for Don Giovanni and I think his reputation is safe enough. He had what appears to have had rather an interesting life - he started out Jewish, became a Catholic priest, ceased so to be, wrote libretti for Mozart and ended up dying in New York. That's off the top of my head, so don't chide me for getting the details wrong. I beseech you to give him a second chance!

[David Duff]

Only on your say so, 'H', but 'Cosi' is a very bleak tale.