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La finta giardiniera at the RCM by ProQuest


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									                                                                           Turandot                                           The Magic Flute                                    The Marriage
                                                                           An old favourite                                   ENO’s evergreen                                    of Figaro
                                                                           returns to the Opera                               production returns to                              As subtle as a soggy
                                                                           House                                              impress afresh                                     satsuma

                                                                           Page 33                                            Page 35                                            Page 36
Photo: courtesy of the Royal College of Music

                                                                                                                                                                                  La finta giardiniera

                                                    La finta giardiniera at the RCM                 the 20th century. The Benjamin Britten/             masquerading as the gardener Sandrina,
                                                                                                    Opera School at the RCM reverted to the             ending in three neat pairings is echoed in Così
                                                      ozart’s opera buffa La finta giardiniera is   original version, and the conductor Michael         fan tutte.
                                                M     a work well suited to student performers
                                                and in recent years it has been staged by all the
                                                                                                    Rosewell drew from the Opera Orchestra a
                                                                                                    performance that emphasised the remarkable
                                                                                                                                                            The estate of Don Anchise, round which
                                                                                                                                                        the action moves in interior and exterior scenes,
                                                major London opera schools, the latest prod-        sophistication of the 18-year-old Mozart’s          was evoked by Alison Nalder’s light and airy
                                                uction being at the Royal College of Music. At      score. The differentiated styles of the music for   set, imaginatively lit by Mark Doubleday; and
                                                its 1775 premiere,
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