The trilogy in question is one of the most successful cases of collaboration between composer and librettist in the history of opera: that between Mozart and Pietro Da Ponte. Beginning with Le nozze di Figaro in 2017 and continuing last year with Don Giovanni, the trilogy came to an end with the first of four performances of Cosi’ fan tutte.

Carnival was in full swing in Valletta’s main streets. People in costume whose identity could not be detected even by some of their closest friends were caught up in the frolic. This echoed the world of make-believe and disguise which is opera in the first instance, and in the second, an exercise which is at the root of much misunderstanding and conflicting emotions. These thoroughly plague the opera’s four main characters.

This trilogy has also been a very successful exercise in continuity. It was Manoel Theatre’s artistic director Kenneth Zammit Tabona’s baby all along to put on an integral production along most lines. The chief element, apart from the operas, was the artistic direction of all three by Jack Furness. Other elements have been the costume and lighting design, both of which were also by Furness.

I would say that many members of the chorus did sing in all three productions while the Manoel’s backstage team could not have changed much in two years. Definitely in all three productions there was Philip Walsh directing members of the Malta Philharmonic Orchestra under his trusty baton. I had seen all three of these operas in various opera houses but never with the above instances of continuity. 

A year here may have divided one production from the other but one kind of gets used to certain touches that characterise the productions. One could expect more or perhaps different stuff but one thing is sure: with Furness one would feel ‘safe’. Would Cosi’ be ‘naughtier’ than Don G?

A fitting conclusion to the amazing collaboration between the younger composer and slightly older but much longer-lived librettist

Would it also be set in contemporary times? Regarding the latter, of course it had to be, as it would have been very odd to have it set in a different period. The whole thing is that the production never lost sight of the basic humanity of the characters and the situations in which they end up. Basic human emotions like love, jealousy, possessiveness, ambition, certain double standards that need challenging and the frequent change of mood required a slick and well-paced performance.

All the singers were a joy to see and hear in action. I think that Jazmin Black Grollemund was a quite stunning Fiordiligi, having a marvellous warm and very flexible mellow voice. Soprano Helen Sherman was very good as the ‘weaker’ of the two sisters and was in very good voice too. Nico Darmanin’s Ferrando was the best leading role he has interpreted so far and Christian Bower’s rich baritone was another unquestionable delight.

Claire Debono’s Despina was a jewel of a performance as the scheming, often impertinent, rebellious and cynical maid whose views on (free) love still raise some eyebrows. This was an opportunity for this singer to bring out her comic best and extra dose of which she provided when posing as a quack.

Pauls Putnins was the other schemer Don Alfonso, ably acted out and sung while being mainly responsible for the mischief which runs through the opera.

The 14-strong chamber chorus was well trained by chorus master Geoff Thomas, always on cue and did their little bit very efficiently. 

The music rules and conquers all here. Well-paced and really very beautiful music, frequently perky, light-hearted but often full of pathos it was a fitting conclusion to the amazing collaboration between the younger composer and slightly older but much longer-lived librettist.