Così fan tutte at a glance

Show
Così fan tutte (ENO 2026 revival)
Status
Closed 21 February 2026
Venue
London Coliseum, St Martin's Lane, London WC2N 4ES
Company
English National Opera
Run dates
6 – 21 February 2026 (limited revival)
Composer
Wolfgang Amadeus Mozart
Librettist
Lorenzo Da Ponte
World premiere
Vienna, 1790
Language
Sung in Italian with English surtitles
Production setting
1950s Coney Island fairground (Phelim McDermott's concept)
Director
Phelim McDermott (Akhnaten, Satyagraha)
Conductor (2026)
Dinis Sousa (Royal Northern Sinfonia)
2026 principal cast
Lucy Crowe (Fiordiligi), Taylor Raven (Dorabella), Joshua Blue (Ferrando), Darwin Prakash (Guglielmo), Andrew Foster-Williams (Don Alfonso), Ailish Tynan (Despina)
Production history
Premiered at ENO 2014; co-produced with the Metropolitan Opera, New York; revived 2017, 2019, 2022, 2026
Set design
Tom Pye (fairground with rides and circus performers)

Looking back: Così fan tutte at the London Coliseum

4.5
★★★★½

LTH Retrospective Rating

The Verdict

Phelim McDermott's 2014 staging of Così fan tutte has become one of those rare ENO productions that earns each revival on its own terms. The 1950s Coney Island setting — fairground rides, circus performers, candy stripes, the slight melancholy of an out-of-season seaside resort — gives the opera's queasy gender politics somewhere to go. Da Ponte's libretto, with its premise that two young men prove their fiancées' faithlessness by disguising themselves and seducing each other's partners, has aged unevenly. McDermott's production treats the whole thing as a game played in front of an audience that has paid to watch human behaviour break down under controlled conditions. It works.

The 2026 revival, conducted by Dinis Sousa, featured a young cast led by Lucy Crowe's Fiordiligi — a soprano who has built a career out of bringing technical precision to roles that demand emotional flexibility. Ailish Tynan's Despina was the comic anchor, with the Irish soprano's natural lilt giving the part a mischievous specificity that often gets lost in more generic productions. The four lovers — Crowe, Taylor Raven, Joshua Blue, Darwin Prakash — held the long ensemble passages cleanly. One performance, a young Welsh tenor named Osian Wyn Bowen stepped in at short notice for Ferrando and was a genuine discovery. As a Mozart revival, it confirmed why the ENO keeps coming back to this staging.

What Made It Special

  • The Coney Island setting. Tom Pye's fairground design — full of working rides, side-show performers and that distinctive American seaside-melancholy — gives the opera's eighteenth-century premise a twentieth-century home that the music genuinely belongs in.
  • Phelim McDermott's directing style. McDermott, also celebrated for ENO's Akhnaten and Satyagraha (Philip Glass), brings a strong physical-theatre instinct to opera staging. The result is a Così where movement, blocking and ensemble work earn their place alongside the singing.
  • Lucy Crowe's Fiordiligi. The British soprano's Mozart credentials are unimpeachable — Glyndebourne, Royal Opera, Met — and her ENO Fiordiligi held the famously difficult Come scoglio aria with technical clarity and dramatic specificity.
  • Ailish Tynan's Despina. The Irish soprano's Despina was the production's mischief generator and worked the audience harder than the role often does.
  • A repeatable staging. ENO has now revived this production five times since 2014. It earns the repetition because each new cast finds something different in its loose structural framework — and because the underlying production is robust enough to absorb new singers without losing shape.

Everything You Need to Know

What happens in Così fan tutte?

The original opera is set in Naples in the late eighteenth century. Phelim McDermott's ENO production relocates it to a 1950s Coney Island fairground, but the narrative beats are unchanged from Da Ponte's libretto.

The wager

Two young military officers, Ferrando and Guglielmo, are sitting in a café boasting about the absolute faithfulness of their fiancées — sisters Dorabella and Fiordiligi. An older man, Don Alfonso, listens to their boasting with growing scepticism. He bets them a hundred sequins that within twenty-four hours he can prove that both women, given the right circumstances, will betray them. Ferrando and Guglielmo agree, on the condition that they follow Don Alfonso's instructions exactly.

The fake departure

Don Alfonso brings the men to the sisters to announce that they have been called to war and must leave immediately. After an extended farewell scene, the men depart. Don Alfonso then introduces the women's maid, Despina, into the scheme. Two strangers — actually Ferrando and Guglielmo in disguise, played in the McDermott production with broad theatrical commitment — turn up and begin to court the sisters. At first the women resist; then Despina (also in disguise, as a doctor) revives the disguised men from a pretended suicide attempt by poison.

The betrayal

By the end of the first day, both sisters have agreed to marry the disguised strangers — Dorabella with little resistance, Fiordiligi only after the longer and most musically demanding ordeal of the opera. A wedding contract is drawn up and signed. At the moment of the signing, military music announces the supposed return of the original fiancés. The men reveal themselves. Don Alfonso has won his wager. The opera ends with a four-voice ensemble singing that anyone who can accept the worst about human nature without losing their reason has found philosophical balance — which is the closest the opera comes to a moral.

The musical highlights

The opera contains some of Mozart's most beautiful ensemble writing — Soave sia il vento (a trio at the farewell scene), the act-one quintet, the act-two finale wedding ensemble. Fiordiligi's Come scoglio is one of the most technically demanding soprano arias Mozart wrote. Despina's two aria spots give the maid the opera's comic centre of gravity. The piece is around three hours including interval — substantial, demanding, and one of Mozart's three Da Ponte operas alongside The Marriage of Figaro and Don Giovanni.