English National Opera - Cosi fan Tutte

Opera still isn’t something I’d call “my thing”, so whenever I go to see one it’s usually with a mix of curiosity and mild uncertainty. I’m far more familiar with musicals and straight drama, but every now and then it’s good to step slightly outside your comfort zone. This time, I was intrigued by the format as much as the piece itself, with English National Opera bringing Così fan tutte to The Bridgewater Hall in a concert-style setting. 

Rather than elaborate sets or grand costume changes, the orchestra was positioned on stage throughout, placing Mozart’s music firmly at the centre of the evening. It immediately felt different to other operas I’ve seen, with no big visual distractions, the focus was entirely on the score and the storytelling, which gave the performance a more intimate and musically driven feel.

The storyline itself isn’t overly complicated, but it is layered. Two men decide to test their partners’ loyalty by disguising themselves and attempting to woo each other’s partner. What starts as a playful bet quickly spirals into emotional confusion as feelings become less predictable than expected. It’s more comedic than tragic, and light-hearted and slightly mischievous rather than deeply dramatic. As the plot hinges on subtle shifts in loyalty and emotion, I’d recommend reading a brief synopsis beforehand - knowing the set-up adds depth to the experience rather than going in completely blind.

With just six principal roles, the cast carried the entire evening, and that level of focus really shows. There’s nowhere to hide in a concert setting, particularly when the orchestra is sharing the stage, so every vocal and dramatic choice feels amplified.

Lucy Crowe as Fiordiligi delivered a controlled and confident performance, navigating the character’s emotional shifts with precision. Her voice soared in the more demanding arias, filling the hall with clarity and strength. Opposite her, Taylor Raven as Dorabella brought warmth and subtle humour to the role, leaning into the lighter moments while still capturing the character’s inner conflict.

The two men driving the central experiment were equally strong. Joshua Blue as Ferrando offered a romantic energy, his tenor carrying smoothly across the auditorium, particularly in the more reflective passages. Meanwhile, Darwin Prakash as Guglielmo brought a richer tone and a slightly sharper edge, giving contrast and balance to the dynamic between the two men.

As the manipulative Don Alfonso, Andrew Foster-Williams anchored the performance with a calm, knowing presence. His portrayal felt measured and deliberate, very much the puppet-master watching events unfold. Adding a welcome spark of mischief was Ailish Tynan as Despina, who embraced the comedic nature of the role and injected personality whenever she stepped forward.

The production was sung in English, which made the dialogue and humour easier to follow and kept the storytelling clear within the concert format. The orchestra was conducted by Alexander Joel with the musicians placed prominently on stage. I always love a full orchestra, and for me it really doesn’t matter about the composer or score, it’s more about the layers of live music coming together in such a powerful way - and Bridgewater Hall is the perfect place to experience this.

The audience around me were clearly enjoying the evening. I spoke to the woman next to me during the interval, a self-confessed opera lover, who commented that “you can’t go wrong with Mozart” and felt the piece had been done real justice. Judging by the warm applause at the end, she wasn’t alone in that view.

For seasoned opera fans, this felt like a well-executed and musically strong evening. For those who are a little more tentative, like me, it was an interesting and focused way to experience Così fan tutte, with the music truly taking centre stage.

WE SCORE COSI FAN TUTTE...



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Watch our "In Conversation with Ailish Tynan" video discussing the show.