Opera Scotland

Così fan tutte 1972Scottish Opera

Read more about the opera Così fan tutte

For the first time, this magical production was revived without Elizabeth Harwood and Janet Baker as the sisters. However careful preparation ensured that the staging still seemed almost perfect. This was the only revival that was given an extensive tour, particularly south of the border.

The cast was entirely new and had been picked as carefully as before. Jill Gomez sang all performances, while the 'star' mezzo, Anna Reynolds, sang in Stirling then returned for the three Scottish cities. Rosanne Creffield fitted in well in the early part of the tour. Patricia Hay was ideally cast as a slightly bolshie Despina, and would be retained at the next revival, when Harwood and Baker returned. Alexander Young was a well-known Mozart stylist. Peter-Christoph Runge had sung Pelléas and rare Cavalli at Glyndebourne and would be seen at the 1972 Festival with his home company from Dusseldorf. His versatility spoke for itself then, when he sang both Cavalieri and Zimmermann. He provided an excellent Guglielmo. John Shirley-Quirk was ideal casting as a very dry and cynical Alfonso.

We have been advised of a cast change by John Duffus, who began his administrative career with Scottish Opera before moving to Hong Kong to spend his career in several management positions in the far east, starting at the Hong Kong Philharmonic.  There was one performance when Jill Gomez was ill. Elizabeth Harwood, by now enjoying an international career including Konstanze at Salzburg, was able to slip into her old role for one evening.  Sadly, no-one as yet seems to remember where.

A wonderful highlight in Perth at least (very intimate, and no pit) came in the second act, Jill Gomez launched the second verse of 'Per pietà' on the merest thread of tone, really challenging the horn (sitting right in front of her). From the front row of the stalls, the blissful smile on Gibson's face could be clearly seen as he conducted with one barely-moving finger.