Mozart – Così fan tutte / Staatsoper Berlin 2002 (2)

(Previous section here.)

In some productions of Così the two women are costumed to look very similar, almost interchangeable. Here they definitely are not. Physically the women are difficult to mix up – Katharina Kammerloher (Dorabella) is at least six inches taller than Dorothea Röschmann (Fiordiligi), and they’re distinguished by wigs as well. Dorabella’s is blonde, and Fiordiligi’s is black (the wigs belong to the characters – they come off by Act II).

And the two sisters have quite distinct personalities as well. Kammerloher’s Dorabella is utterly deadpan and very funny. She literally blends into the furniture – her dress in the first part of Act I is the same pattern as the sofa. When the men leave, they both whip out magic markers and leave their fiancées very personal little reminders of them – Ferrando unzips Dorabella’s dress and draws a big F on her bra, while Guglielmo evidently does something similar, but since Fiordiligi’s dress zips in the back, we can’t tell what he writes. But the girls’ reactions are very distinct. Fiordiligi looks startled and then seems to be trying to figure out whether she likes this interesting sensation or not, while Dorabella just has this “god, not the bullshit with the marker again” look on her face.

Röschmann’s Fiordiligi is a ball of nervous energy. She’s squirrelly and agitated and soon also overwhelmed and upset and even more agitated by what is going on. Her reaction to many things is to clamp her hands over her ears and hide. Röschmann is quite funny doing all this (the physical comedy in general in this production can be a little slapsticky, but this is not out of place and it usually works fairly well, e.g. there is one moment during the party scene when Fiordiligi is leading Ferrando off to take their walk and he stops suddenly, causing her to lose her footing and almost knock over a tree/lamp, and the blow to the lamp causes it to flicker, and Fiordiligi gets this panicked look on her face like “I broke it! Did I break it? oh no!”) but it’s serious as well. Fiordiligi is a little more high-strung than her sister – a lot more high strung than her sister – she’s both more obsessively devoted to her boyfriend and, when she falls, seems to fall a little harder.

Röschmann and Kammerloher not only play well off one another dramatically, but they sound great together as well. Their duets are some of my favorite parts of this.

In fact, as I watched and listened to this I sort of forgot that I was listening to Röschmann – partly it’s the wig, and partly because she’s so utterly in character. But the wig comes off in Act II and about the time it does, we are back in more conventional Röschmann mode: emoting the hell out of things, as in “per pietà.” The recitative leading up to this aria is both lovely and nail-you-to-the-wall intense. The aria itself, with all those big leaps, reveals an aspect of DR’s voice that some don’t like, which is that the lowest notes are earthier-sounding and fairly distinct from the rest of her voice (you get this in “ah guarda, sorella” in Act I, too, where the soprano part goes down to A below middle C – I rather like the sound, but not everyone does).  I didn’t enjoy this aria as much as I did come scoglio and some of the ensemble sections. “Come scoglio” in particular is a riot. It’s got this wonderful combination of utter precision and a huge amount of personality – one of those moments of Mozart singing that is both abstractly beautiful and completely in character. (And fun! Mozart should be fun.)

(Next section here.)

8 thoughts on “Mozart – Così fan tutte / Staatsoper Berlin 2002 (2)

  1. Thank you for reviewing this! Originally the slapstick humor and hippie setting were a slight turnoff for me; but having watched this several times I think I finally got it – or most of it. But your review still highlight things I have not thought about…


    1. I was ambivalent about it the first time too – it took me a while even to get around to watching it for the first time, because I had this “oh, this is going to be silly and/or annoying” feeling.


  2. I always wondered why Dorabella barely reacts to Ferrando and his marker. I mean that’s kind of a weird kinky thing to do. Well, it’s weird anyway.

    I do love Ms. Kammerloher’s voice (DR is a given) and they way they blend. Wonder what else she’s recorded.

    Btw, I have a Fiordiligi “face off” post ready for this week, but I think I will save it for another week or so 🙂 We don’t wanna OD on Come Scoglio!


    1. Yeah, the marker thing is weird. I noticed that while the business with the markers is going on, we get a little shot of Don Alfonso, who is sort of “the audience” for that moment – he’s got this look on his face like “well, that’s a little bit weird”

      I have this vague memory of coming across references to Kammerloher in a Wagner opera, and in a production of Figaro (both Staatsoper Berlin I think) but I can’t remember whether these were recordings, or reviews of performances. She does have a nice voice.

      I have definitely approached OD status on Cosi for the time being! (But I am curious – who will be ‘facing off’?)


      1. Hartelius, Röschmann, Janowitz (it’s all fun and games till someone pulls out a gun!) and maybe Persson (though she would be a re-post — not to be confused with a riposte. Although actually, come to think of it, and per Webster’s (def.2), “come scoglio” technically IS a riposte.)


Comments are closed.