Mozart - Cosi fan tutte [Box set]

There is no more eminent Mozartean these days than Sir Charles Mackerras, the 88-year-old Australian conductor. He has recorded 'Così fan tutte' before -- Mozart - Così fan tutte / Lott · McLaughlin · Focile · Hadley · Corbelli · Cachemaille · Sir Charles Mackerras -- but this time around there are two major differences: it is sung in English and the pit band is the original-instruments Orchestra of the Age of Enlightenment. Some people object these days to singing an opera in any but its original language, but I'm not one of those. Think of opera sung in English as the noble forebear of today's supertitles; and of course one can't have supertitles in an audio recording. The singers in this performance do a pretty good job of making the sung words understandable. Particularly outstanding in this regard is Sir Thomas Allen as Don Alfonso, and what he does with da Ponte's (or should I say John Cox's clever updating of Marmaduke Browne's English) words is a marvel of both diction and acting. For those moments when the words can't be quite made out, Chandos does, thankfully, supply a complete English libretto. As for the Orchestra of the Age of Enlightenment, they are among the very best original-instrument ensembles of the day and they give Mackerras the kind of joyous sound he must surely have wanted. One notes that he allowed principal instrumentalists to add their own ornaments and these are generally delightful.

As for the main characters, all but one are simply magnificent, very nearly the equal of any of the principal singers I've ever heard on earlier recordings. But there is one exception: Lesley Garrett, as Despina, is not in complete control of her vocal apparatus and there is some degree of threadiness and straining, as well as some over-the-top hamminess in her vocal acting. The two main women, Janice Watson as Fiordiligi and Diana Montague as Dorabella, are all one could ask. I had, when I saw the cast list, some apprehensions about how these two singers would do -- they are, after all, a bit, erm, mature for their roles -- but I needn't have worried. Both are in fresh, supple voice and the blending of their voices is a joy to behold. The two men, Toby Spence as Ferrando and Christopher Maltman as Guglielmo, are equally good as the ladies' tender lovers and as the fake Albanian soldiers, Leander and Philander. The recorded sound on this set is just slightly reverberant to my ear but one has no difficulty picking out individual strands of the musical texture or the words of the singers.

So who is this recording for? Well, I suppose for those who have one or more recordings of the original language version, this set is superfluous. But for those coming to 'Così' for the first time, this one could very well be the best possible introduction to this witty opera the understanding of whose repartée is such a necessary part of its impact. And for those who collect Così recordings, this one should not be passed by. I should point out that at the time of this review Amazon is only charging about $26 for this three-CD set, quite a bargain for a new recording. Chandos has not skimped on the presentation, either. There are a fine essay about the opera by Mike Ashman, an interview with Mackerras and a helpful synopsis, as well as the full English libretto.

Scott Morrison

It's hard to follow up Scott Morrison's perceptive review of this new 'Cosi fan tutte' in English. My reaction on several fronts, however, isn't as enthusiastic. I agree that Thomas Allen is the very model of a smiling, knowing Don Alfonso, but I'd also add that Lesley Garrett's Despina is almost as good in recitatives, which makes the sly chicancry between them the wittiest thing about this performance. The four young lovers sing quite well, but they aren't funny or, for that matter, very alluring. Toby Spence has a hard edge to his tenor and effortful legato, which works against Mozart's melting melodic lines. The two women sound rather alike, but that's no matter. Fiordiligi's murderously difficult aria, 'Come scoglio (here translated as "Like a fortress"), is negotiated too carefully by Janice Watson, but she makes it through with conviction surpassing sheer vocal talent.

As for Mackerras, he takes the whimsical overture in a punchy fashion with sharp thwacks on the timpani at the climax -- not my favorite way with this bubbling, humane, relaxed, and civilized score, but he is dramatically effetive, and the period orchestra plays expertly (admittedly, I'd rather hear more vibrato, rubato, and expressivity). Mr. Morrison rates Mackerras as ann eminent Mozartean, but I'd lower him to a skillful professional, and that holds true here: I wish I were more moved. I generally go out of my way to avoid Mackerras anywehere but in Janacek operas, but even a non-fan like me must concede that he shapes Cosi from scene to scene very well.

As for the translation, the original, an 1890 version by the Rev. Marmaduke Browne (why aren't we naming baby boys like that anymore?), is decidedly prim. John Cox has added modern quips, some in bad taste (would even the cynical Da Ponte praise his two soldiers as 'well endowed'?), the overall result being rather hybrid. But the rhymed couplets manage not to sound like Gilbert and Sullivan too often -- always the trap when yoou try to English a verse libretto -- and there are genuine smiles when Allen and Garrett take center stage.

In all, I came up wth four stars, just like Mr. Morrison, and believe that any Mozart lover will have a good time with this bargain-priced set.