I was apprehensive when I sat down to watch this. I've recently fallen in love with Così fan tutte, but I've generally disliked or had issues with all the operas I'ves seen that were actual films rather than filmed stage productions. I was really surprised at how smoothly this one made the transition. I put this down to Ponnelle's directing; his Il Barbiere di Siviglia is also wonderful. I've also seen parts of his Rigoletto, which wasn't bad either.

I think this film is successful because it retains a stagelike atmosphere - a curtain opens at the beginning. Another factor is that for the most part the camera doesn't do any abrupt switches, except when it's for dramatic effect as in Fiordiligi's aria "Per pietà, ben mio, perdona." Also the camera doesn't get right up in anyone's face too often. (I don't know why some directors do that. I really don't want to look at anybody's nose hairs. Nor do I want to see down into their throat while they sing. It feels like I'm invading their personal space.)

The roles are all well-cast. Edita Gruberova and Delores Ziegler are both individually wonderful as Fiordiligi and Dorabella, but they also complement each other nicely. The contrast between Ziegler's impetuous, outgoing Dorabella and Gruberova's more reserved and introspective Fiordiligi is very clearly presented.

Luis Lima's Ferrando was excellent. He has a very rich, full tenor voice that is suited to the role's slow, passionate arias. He sings with very touching emotion and is realistically heartbroken by Dorabella's betrayal.

I love Ferrucio Furlanetto in the role of Gugliemo. In fact, I love Ferrucio Furlanetto in the role of anything. His Gugliemo has a playful personality, but is still moved deeply by Ferrando's misfortune and reacts even more painfully to his own betrayal. His "Donne mie, la fate a tanti" is awesome - I swear you wouldn't need the subtitles.

Teresa Stratas really steals the show as Despina; her voice is beautiful and she's hilarous, the perfect combination. This must be seen to be believed. Paolo Montarsolo's cynicism in the role of Don Alfonso is almost sinister, which works in the context of this film as the ending is not presented as happy one. Motarsolo is strong vocally, but his real strength is his acting - he manages to be sinister but still somehow presents a sort of apologetic although detached sympathy for the plight of the two couples. But his sympathy doesn't prevent him from collecting on his bet at the end.

The only big problem with this film is the costumes. First, a minor point, Fiordiligi and Dorabella were occasionally difficult to tell apart (possibly the director meant to do this?) since they both wear similar colors and sometimes sport identical white wigs. That's not the real issue though - my biggest problem was the guys' moustaches. Some artistic liberty was taken here. Dorabella actually rips off Gugliemo's facial hair during "Il core vi dono." I'm not sure what that's supposed to mean - did she recognize him or not? (Would you continue making out with someone whose facial hair came off? I might be a bit curious...) Ferrando takes his off somewhere along the line and doesn't have it on when Fiordiligi finally acquiesces.

It's also off during the final scene where they sign the marriage contract, which diminishes the effectiveness of the revelation. Ferrando tosses his turban and robe at the sisters' feet with his sword. I was tempted to ask, "Did he kill the guy and strip him?" Gugliemo manages a little more effectively by showing Dorabella Ferrando's minature and ripping off the heart he gave her. But stretches the suspension of disbelief somewhat that neither sister recognizes the other's lover without a disguise more substantial than a turban.

I'm not sure if the director was trying to suggest that they actually did recognize them or not. He also had the two sisters actually present during the argument in the opening scene - they storm out angrily after giving Don Alfonso a dirty look. I personally think that witnessing this argument would tend to put them on their guard, so maybe they aren't in the dark as much as the original stage directions call for them to be.

The costume people redeem themselves with Despina's disguises, which had me busting out laughing, they looked so funny. They contribute a bit to Stratas's great Despina.

The set is all right - it's pushing the limits of extravagant but doesn't quite go overboard. The garden scenes are well-designed, and I like the central prominence of the bench with the wager and the bottle of wine on it.

As I said before, Ponnelle doesn't give us a happy ending. The couples never really reunite, and the movie ends with them standing apart from each other in varied poses of despair, while Don Alfonso cheerfully helps himself to his winnings and the wine. It's very sad, but it springs very smoothly from the presentation of the opera.

This movie does have flaws, but don't get me wrong: it's a powerful work nonetheless. I highly reccomend it if you can get your hands on a copy. I know I will watch it again and again.

Originally Reviewed:

15-Jul-03

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