Before I write that this is my first visit to the legendary Bolshoi Theatre, an eventual Russian reader might observe that I have never actually been in the Bolshoi, for the true venue of this performance of Mozart’s Così Fan Tutte is the “New Stage”, an annex to the old building just across the street. Dutch director Floris Visser’s production was premiered there only this year (according to the program, the actual première of Così in the old stage took place only in 1978…). Mr. Visser is a new name to me and, although his interview (also in the program) suggested something far more ambitious than what one ultimately sees, this staging is particularly noteworthy for its direction: the stage action is meticulously conceived, convincingly carried out by young and skilled singers and costumes, sets and use of stage contraptions is imaginative and always pleasing to the eyes.
If the director’s thesis, i.e., this opera is essentially a tragedy with comedy touches does not really work, this must have to do with the fact that the musical side of the performance was essentially very inexpressive. I was actually tempted to call it perfunctory – but this would be inaccurate. Conductor Stefano Montanari claims to have a background in historically informed performances, but acknowledges that it would be unpractical to have a period-instrument band duty in an opera house. In any case, the Bolshoi orchestra must be praised by its willingness to embrace an “authentic” approach – strings with very limited vibrato, woodwind presiding the orchestral sound, an overbusy fortepiano and fussy handling of tempo. I would have enjoyed many of the conductor’s interesting ideas – the mirroring of the overture’s pace in the stretta of Come Scoglio, for instance, was quite revelatory or the way the military chorus, made slower than usual, had all its illustrative effects “spoken” rather than “painted” (to use Nikolaus Harnoncourt’s terminology), but the sad truth is that the overall impression was rather disjointed, often awkward, strings poorly articulated, an amazing level of mismatch with every soloist, for catastrophic results in Soave sia il vento. In these circumstances, Mozart’s and Da Ponte’s expressive powers were very occasionally only hinted at.
Truth be said, although the cast was most efficient in the acting department, the singing itself was unfortunately variable. Anna Kraynikova’s basic tonal quality is extremely apt for the role of Fiordiligi. Her creamy, shimmering soprano is appealing and pleasant and nature gave her the range and the flexibility (but not trills) for it. However, the technique is not up to the task: her breath support is faulty, she is too often off steam in the end of phrases, her coloratura has bumpy moments and her approach to mezza voce is hit-or-miss. The beautiful Alexandra Kadurina has a truly interesting mezzo: it is firm, clean, warm but not overdark in its low reaches and occasionally ductile even in high tessitura. At moments, she sounds like a world-class Dorabella, in others she can be a little blowsy, rather metallic and sometimes just rough. If she can see to these drawbacks, there will be nothing between her and a great career. Alina Yaroyava (Despina) was probably the most finished female singer in the cast – the tonal quality is pleasing, her Italian is vivid and she has the low notes without which the role sounds incomplete. However, she is too often careless about her phrasing, with some gusty passages, forced high notes and some moments of dubious intonation. Her disguise as the notary was extremely well-handled.
The men proved to be altogether more reliable. Yuri Gorodetsky (Ferrando) is an extremely dependable singer: he produces all his notes easily, clearly and a tempo. But that is pretty much it. The tone is a bit dusky in the middle register but opens into rather nasal and glaring high notes, and his phrasing is blunt and without much affection. He was spared of some testing passages by the deletion of Dal fato dal legge, Ah, lo vegg’io and Tutto, tutto, o vita mia in the finale ultimo. Alexander Miminoshvili,on the other hand, was a winning Guglielmo, dulcet-toned and spirited. Last but not least, Nikolai Kanansky was a powerful, rich-toned Don Alfonso, who could have done with a lighter touch in the trio with the sopranos.