Phelim McDermott's 2014 revival of Mozart and Da Ponte's Così Fan Tutte at the English National Opera (ENO) is a masterclass in balancing wit, satire, and emotional depth. The production, which originally premiered as a circus spectacle, cleverly skewers outdated attitudes towards women, sex, and class while maintaining a razor-sharp focus on its core themes.
The show's irreverent tone is set from the outset, with 12 performers bursting onto stage in a dazzling display of acrobatics and humor. While some might view these elements as distractions, they serve to underscore the absurdity of the opera's patriarchal society. Even the ENO chorus plays into this dynamic, dressed in unassuming attire that belies their crucial role as fair-goers, silently observing the antics unfolding before them.
McDermott's staging also tackles the problematic attitudes towards women head-on. When Guglielmo rants about the supposed fickleness of women, he is met with a withering gaze from an increasingly large coterie of female extras behind the hamburger stand – a clever reversal that highlights the ingrained sexism of the era.
The cast delivers outstanding performances across the board, with standout moments coming from Lucy Crowe's heart-stopping aria sung from a Ferris-wheel carriage and Ailish Tynan's scene-stealing turn as Despina. Darwin Prakash and Joshua Blue make a charming double act as Guglielmo and Ferrando, while Jeremy Sams's translation of the text shines through in his witty, engaging delivery.
Under conductor Dinis Sousa, the orchestra delivers an energetic and engaging performance that perfectly complements McDermott's staging. Even Andrew Foster-Williams brings a certain level of self-awareness to his portrayal of Don Alfonso, occasionally flashing a glimpse of vulnerability beneath the smooth-talking façade.
Ultimately, this revival is less about nitpicking the opera's problematic elements and more about embracing its wit, satire, and emotional depth. It's an infectious blend of humor, drama, and spectacle that has a distinctly 21st-century feel – one that not only stays true to Mozart's timeless masterpiece but also serves as a timely reminder of the enduring power of Così Fan Tutte.
The show's irreverent tone is set from the outset, with 12 performers bursting onto stage in a dazzling display of acrobatics and humor. While some might view these elements as distractions, they serve to underscore the absurdity of the opera's patriarchal society. Even the ENO chorus plays into this dynamic, dressed in unassuming attire that belies their crucial role as fair-goers, silently observing the antics unfolding before them.
McDermott's staging also tackles the problematic attitudes towards women head-on. When Guglielmo rants about the supposed fickleness of women, he is met with a withering gaze from an increasingly large coterie of female extras behind the hamburger stand – a clever reversal that highlights the ingrained sexism of the era.
The cast delivers outstanding performances across the board, with standout moments coming from Lucy Crowe's heart-stopping aria sung from a Ferris-wheel carriage and Ailish Tynan's scene-stealing turn as Despina. Darwin Prakash and Joshua Blue make a charming double act as Guglielmo and Ferrando, while Jeremy Sams's translation of the text shines through in his witty, engaging delivery.
Under conductor Dinis Sousa, the orchestra delivers an energetic and engaging performance that perfectly complements McDermott's staging. Even Andrew Foster-Williams brings a certain level of self-awareness to his portrayal of Don Alfonso, occasionally flashing a glimpse of vulnerability beneath the smooth-talking façade.
Ultimately, this revival is less about nitpicking the opera's problematic elements and more about embracing its wit, satire, and emotional depth. It's an infectious blend of humor, drama, and spectacle that has a distinctly 21st-century feel – one that not only stays true to Mozart's timeless masterpiece but also serves as a timely reminder of the enduring power of Così Fan Tutte.
! Phelim McDermott did an amazing job balancing wit, satire, and emotional depth 
. The circus elements added a fresh twist to the classic opera 
. I loved how they tackled outdated attitudes towards women, sex, and class – it's like they're saying, "Hey, we know this stuff is problematic, but let's make fun of it instead" 
. And the cast? 
Lucy Crowe's aria on the Ferris-wheel carriage gave me CHILLS 
!
. the performers are all acrobats and comedians which adds to the satire, but also makes you realize how ridiculous the patriarchal society is 
. and lucy crowe's aria from the ferris wheel carriage? WOW 
it gives me chills.
. conductor dinis sousa and translator jeremy sams are total pros too 
.
. it's like a big ol' party that also makes you think 
.
. And can we talk about the cast?! Lucy Crowe's aria in that Ferris-wheel carriage had me MELTING 
. It's like they're saying "hey, opera can be funny and smart too" without being at all preachy 
. Overall, this production is a breath of fresh air and a testament to Mozart's timeless genius 
.
And I love how the cast brings this 18th-century opera into the modern era with their energetic performances. It's a masterclass in balancing entertainment and commentary. The more we talk about these timeless themes, the better equipped we are to create real change 
. Has anyone else seen this production or caught any of the circus spectacle bits online?
It's like, you'd think that opera is all about drama and seriousness, but nope, this production is all about poking fun at the old-fashioned attitudes that Mozart was critiquing 
! The cast is absolutely phenomenal, with Darwin and Joshua as Guglielmo and Ferrando making an adorable double act 
And let's not forget Jeremy Sams's translation – it's like he's having a witty conversation with you right in your seat 
All in all, this production is a masterclass in balancing wit, satire, and emotional depth. If you haven't seen it yet, GET ON IT ASAP! #CosìFanTutte #ENO #OperaRevival #MozartReimagined 
Still, it's worth watching if you're into that sorta thing.
The way he balances humor, satire, and emotional depth is pure magic 
And can we talk about how fabulous the cast is? I mean, Lucy Crowe's aria from the Ferris-wheel carriage gave me CHILLS 
Ailish Tynan as Despina was also absolutely stealing the show 
I love how this production pokes fun at outdated attitudes towards women and sex – it's so refreshing to see a more modern take on an old classic 
You think the ENO's revival of Così Fan Tutte is just some quirky, artsy reimagining of Mozart's opera? Please, it's a masterclass in subverting expectations and skewering outdated attitudes towards women, sex, and class. I mean, those extras behind the hamburger stand are not just random extras, they're part of the commentary on sexism! 
And don't even get me started on Lucy Crowe's aria - that was not just a heart-stopping moment, it was a commentary on the societal pressures placed on women. It's like you guys are too busy oohing and ahhing over the production values to actually think critically about what's going on. Newsflash: this is 2025, and we should be able to do better than just appreciate art without analyzing its underlying messages! 
this production is like, totally revolutionizing opera right?! I mean, who wouldn't want to watch a circus spectacle with witty satire and emotional depth? 
Jeremy Sams's translation is also worth noting, so witty and engaging. And conductor Dinis Sousa bringing the energy to the orchestra... perfect pairing! 
. And let's not forget the orchestra under conductor Dinis Sousa - they brought the house down! 
. Can't wait to see more productions like this! 
I'm kinda impressed by how well ENO tackled the problematic bits in Così Fan Tutte... but let's be real, 12 performers bursting onto stage just to show off acrobatics? 
A bit too much, right? Where's the source on this one? Was it a specific article or interview that said they "serve to underscore the absurdity of the opera's patriarchal society"? Need more context. Also, I'm not convinced by the idea that Guglielmo's rant is just met with a "withering gaze" from the female extras - sounds like a convenient plot device to me 
. Can someone point me in the direction of some solid analysis on this?