Mozart – Cosi fan tutte

British Youth Opera at the Peacock Theatre

10 September 2005

Conductor – Paul McGrath

Director – Martin Lloyd-Evans

Set Designer – Jamie Vartan

Costume Designer – Donatella Barbieri

Lighting – Giuseppe Di Iorio

Ferrando – Andrew Staples

Gugliemo – David Stout

Don Alfonso – James Robinson

Fiordiligi – Erica Eloff

Dorabella – Anna Stéphany

Despina – Joana Seara

I must start by declaring an interest: since I saw my first BYO production (Offenbach's Robinson Crusoe at Sadlers Wells in 1995 – its palm tree still stands like a castaway at the top of the stairs in the Company's offices) I have been a member of their Friends association. Not that this makes me less critical of their productions. I have had the privilege of sitting in at a rehearsal or two, and like the figure skating commentator who avidly tells us that a perfectly executed double Salchow should in fact have been a triple in combination with a double toe loop, I have heard the director Martin Lloyd Evans' instructions and know how closely the complicated stage business has been choreographed with the music and libretto.

Ferrando and Gugliemo, in vintage RAF kit, must mime a parachute jump and descent, Dorabella will collapse in a fit of tipsy laughter but manage to keep bottle and glass upright, Fiordiligi get caught out changing into battle kit behind a washing line and makes neat work of covering herself with a sheet, Despina will tidy, fuss and cajole and in macho paramedic guise must apply the shock waves from the mesmeric machine with enough force to send the men literally hurtling across the stage, whilst Don Alfonso will keep the audience aware of his constant manipulative presence.

The overture was accompanied by a witty cinema and night on the town sequence (kebabs, drinks, a taxi ride and comfort stop). The chorus, dressed in scarlet uniforms, play a larger part than usual and are on hand at every turn to supply props or take part in the action.

The production takes place within of a box-like multi-purpose space in centre stage under glaring lights – the curtains are not used at all and audience have a constant “big brother” view of the action and changing emotions.

The six principals had been well chosen and came with impressive college CVs but it was, I believe, the first time any of them had sung in a theatre where the orchestra pit is below the stage and they would have to contend with hearing the music via loudspeaker, whilst at times having no direct sight line to the conductor so relying on TV monitor. By the time I saw the show on its third night it had settled nice ly, recitatives were crisp, singing expressive, ensembles co-ordinated and the cast were obviously enjoying the challenge of putting on the show. The South Bank Sinfonia, and Wai-Yin Li at the harpsichord sounded well under Paul McGrath's firm conducting, and the audience clearly had a wonderful evening's entertainment.

Serena Fenwick