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Bridgewater Hall welcomed English National Opera’s Così fan tutte in a riot of mischief, deceit, seduction and playful manipulation. A glittering exploration of love put to the ultimate test.
The story of Così fan tutte
The story follows Ferrando and Guglielmo, two confident young officers, proudly proclaim the loyalty of their fiancées. The cynical Don Alfonso, however, is unconvinced and is determined to prove that constancy is merely an illusion, he persuades the men to disguise themselves and attempt to seduce each other’s fiancés.
What begins as a philosophical experiment quickly spirals into a chaotic whirlwind of flirtation and emotional drama.
Temptation proves persuasive
Fiordiligi and Dorabella initially resist the advances of these “mysterious strangers,” appalled by what appears to be brazen courtship so soon after their lovers’ supposed departure. Yet temptation proves persuasive.
With the ever-scheming maid Despina persuading the women and gleefully adopting disguises of her own, loyalties begin to blur and emotions grow perilously real.
Beneath the comedy lies an uncomfortable truth: when pride and desire collide, nobody escapes untouched.
Beautifully crafted staging
The staging is dim lit yet engaging, heightened by the striking decision to place the orchestra at the back of the stage, sharing the space with the performers.
It is a beautiful and immersive touch, ensuring there is always something for the eye to follow, while reinforcing how seamlessly music and drama intertwine.
Lucy Crowe as Fiordiligi
Lucy Crowe as Fiordiligi delivers a performance of remarkable control and elegance. Her soprano is luminous, with a silvery clarity that floats effortlessly through the hall.
In Fiordiligi’s more demanding arias, she balances technical precision with genuine emotional vulnerability. Crowe captures the character’s moral struggle beautifully as the tension between steadfast loyalty and creeping temptation is written across her face as much as it is heard in her voice.
Taylor Raven’s Dorabella provides a striking contrast. Her mezzo-soprano is warm and velvety, with a darker tonal colour that suits Dorabella’s more impulsive and romantic nature. Raven leans confidently into the character’s emotional fluidity, making her eventual surrender feel believable rather than frivolous
Joshua Blue’s comic timing is sharp
As the scheming instigators of chaos, Joshua Blue (Ferrando) and Darwin Prakash (Guglielmo) prove to be a perfectly matched duo. Blue’s tenor is bright and expressive, bringing sincerity to Ferrando’s declarations of love while also embracing the absurdity of the plot.
His comic timing is sharp, particularly in moments where confidence gives way to wounded pride. Prakash baritone is robust and assured, lending weight to both the humour and the character’s bruised ego as the wager spirals beyond his control.
Together, their exaggerated disguises are hilariously unconvincing and create some of the evening’s biggest laughs. Their physical comedy never overshadows the musical integrity of their performances.
Don Alfonso isn’t your classic pantomime villain
Andrew Foster-Williams as Don Alfonso anchors the production with a knowing subtlety. Rather than playing him as a pantomime villain, Foster-Williams presents a measured, almost philosophical manipulator.
His bass-baritone carries authority and warmth, making Alfonso’s cynical worldview feel less malicious and more like a wry commentary on human nature.
He orchestrates the drama with quiet satisfaction, watching the emotional dominoes fall.
Ailish Tynan as Despina steals the show
Stealing scene after scene, however, is Ailish Tynan as Despina. Her performance crackles with energy from the moment she steps on stage.
Her disguises will have the audience laughing at the outrageousness, and her expressive body language: confident, cheeky and unapologetically bold. Which injects the production with infectious vitality and continually makes Despina the most hilarious character in the show.
The production never loses its operatic touch
Collectively, the cast ensures that while the production sparkles with farce, it never loses sight of the opera’s emotional undercurrents.
Each performer finds humanity within the satire, elevating Così fan tutte beyond a simple comedy of errors into something far more resonant.
Orchestra brings Mozart’s work back to life
Under the baton of Alexander Joel, the orchestra brings Mozart’s effervescent score vividly to brings to life in a tender and achingly beautiful. Despite its three hour running time, the production maintains an engaging pace, never losing its sparkle.
ENO’s Così fan tutte leaves audiences thoroughly entertained
Ultimately, ENO’s Così fan tutte is more than a light-hearted farce. It is a clever, stylish and emotionally resonant meditation on fidelity, temptation and the fragile theatre of romance. Leaving audiences laughing and thoroughly entertained.
Keep up to date with English National Opera
Although ENO’s Così fan tutte finished running at Manchester’s Bridgewater Hall on the 28th February, you can keep up to date with English National Opera on their website to see when they’ll be making a welcomed return to Manchester.
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