One of the lessons you quickly learn as a reviewer is that often some of very best original work in theatre, opera and dance takes place away from the bright lights of the West End in a penumbra of alternative London venues. One such example that Plays to See has followed with interest and admiration in recent years is Ensemble OrQuesta, a London-based company dedicated to historically-informed performance of Baroque and Classical repertoire. They present innovative opera productions which combine meticulous scholarship and period-awareness with rare theatrical vitality. What has consistently impressed me is the way they have got beyond the performance patina of familiar works to reveal fresh facets of these staples of the repertory; and all done with the lightest of touches, harnessing the skills of emerging and established artists from across the UK and Europe.
It was a pleasure, therefore, to catch up with Marcio da Silva, their Artistic Director, ahead of a new production of Cosi fan Tutte at the Cockpit Theatre.Â
TH: Marcio, your forthcoming production of Cosi fan Tutte is the culmination of your tackling all three Da Ponte-Mozart collaborations. What led you to take on this repertory, going beyond your original Baroque focus? How have your plans and processes evolved and changed through the productions?
MS: Since 2016 we actually have put on a few productions of Figaro, Don Giovanni and Cosi. Our current production of Figaro premiered in 2021. A first version of Don Giovanni was premiered in 2017 and Cosi in 2018. These productions were, however, not sufficiently tied to EO’s minimalist style, with strong use of physical theatre. We had only performed them in the context of opera academies. In 2024 we decided to cross that line, and bring our Mozart productions to our core audience in London. I made big changes to the design of the productions, so that it was aligned with EO’s signature style. We thought that this was an important step towards reaching new audiences. The biggest change is that for these productions, we do not use Ensemble OrQuesta Baroque, our baroque ensemble, but the (Hastings Philharmonic Orchestra) Ensemble which the score requires. Our singers, however, are regular company members, which is one of the unique features of EO: you will likely always see the same faces. We build on working together.
The other new focus that I developed while putting on these three productions, was to make sure that we connect them together. The three operas are really like a trilogy. Those who have seen both Figaro and Don Giovanni will have noticed many similarities in the staging. Although some critics criticised me for ‘recycling ideas’, these were not at all by chance. I don’t like giving an exhaustive explanation of my ideas. I prefer the audience to find their own interpretation. The ‘post-scoop’, however, is that Cherubino actually becomes Don Giovanni. We began our staging of Don Giovanni from the end of Figaro. The scene from the Finale of act 4 of Figaro is repeated in the first act finale of Don Giovanni, now with Don Giovanni (Cherubino) in the previous position of the Count. There are many small connections between the two operas which are not random. The idea is indeed to connect and integrate the two. Our audience should expect some of the same for Cosi. While this production is much more modern in how it looks, that connection will nevertheless be there.
TH: What are the particular benefits of pursuing Mozart through chamber-scale performance? What can the audience expect to be different from ‘big-band’ performances of Cosi? Will the singing or acting or playing mark new departures? Will we notice new or overlooked features of the work?
MS: The feedback that we have received from those who enjoyed our previous two productions was indeed that they could see so many details that are otherwise lost in the big stage. The three operas are filled with inside jokes and sarcasm. Cosi has the easiest plot line. It actually gets easier every opera; however, the richness of the text is always there. It is impossible even for an Italian audience get all the small details; it is even harder with a non-Italian audience. We work on those details for ourselves in the hope that a few people will get them, and some people really do.
TH: Cosi is sometimes criticised for the alleged misogyny of its attitudes, from the title through to some of the sentiments expressed, particularly in the final ensemble. How do you respond to these claims?
MS: This criticism of Cosi is, in my view, a total misunderstanding of the whole trilogy. Unfortunately, Mozart isn’t around for us to confirm it with him, but for me, there is nothing more ironical than ‘Cosi fan tutte’ as a title. Really? After the Count, Don Giovanni and whatever inhuman plot those three guys come up with to trick those poor two ladies ‘Cosi fan tuttE’? For me that is a joke through absurdity. Of course, the real meaning of the opera is ‘Cosi fan tuttI’. However, the three men are the ones delivering this text, and of course, once again, they will blame the women. This isn’t Mozart saying it, it’s the three very flawed characters. Mozart, through the three operas, is actually saying Cosi fan Tutti (The MEN are all the same). Any criticism of the opera comes from a naïve misunderstanding of the three works together, if I may say that. I believe a good parallel with today’s world is the work of Ricky Gervais. He is one who thrives on making fun of absurd ideas by pretending to have those ideas. I believe that this is a bit what Mozart did.
TH: One of the most intriguing features of the opera is the balance between humour, even farcical episodes, and darker, even disquieting, implications about the mutability of relationships and identity. How do you get the balance right between the two? Do you want us to leave smiling or pensive? Or with another emotion altogether?
MS: I think Cosi is definitely the lightest of the three operas. In an ideal world, one would watch each opera after the other. Although Figaro and Don Giovanni have complex perspectives on comedy and drama, I believe that Cosi is a much clearer attempt to make people laugh. The only ‘ugliness’ or ‘darkness’ in the plot is the jealousy of Ferrando and Guglielmo and their occasional disgust for the female sex, which we already saw very clearly in Figaro’s ‘Aprite un po quegl’occhi’. I definitely would like to see the audience leaving smiling after this one.
TH: You have often performed at the Cockpit Theatre – why do you like to return there? What advantages does it offer to your performance style?
MS: The Cockpit is the perfect venue for us because it is a black box in the round. The proximity with the audience and the ability to transform the space whichever way we want makes it ideal for us.
TH: What comes next? Can we look forward to more Mozart, or a completely different direction?
MS: We are possibly closing our Mozart adventure (for now) with Magic Flute at the Arcola in August. This is again a production in the very core style of Ensemble OrQuesta which will be a revival of our 2019 production. I am, however, tempted to extend the adventure with La Clemenza di Tito. This is another opera which would very much suit our style, but we are equally happy to go back to our more core baroque repertoire. This season we are premiering two new baroque productions at The Cockpit as part of our opera academies: Monteverdi’s Il Ritorno d’Ulisse in Patria and Handel’s Rinaldo. We are also premiering a new production of Purcell’s King Arthur in Hastings which will be another big challenge. We are also finalising the recording of Jacquet de la Guerre’s Cephale et Procris, which I hope we will turn into a film of our 2023 production next season.
TH: Thanks very much, Marcio, for sharing your thoughts and insights with Plays to See, and we wish you un soave vento for the new production!
Cosi fan Tutte runs at the Cockpit Theatre from 22-25 January 2026.