Così fan tutte brings to a close the da Ponte cycle at the Theater an der Wien - conducted by Nikolaus Harnoncourt, originally planned to be fully staged, and subsequently presented in semi-concert form with the same set throughout and minimal props to augment scores and music stands, in a rather irresolute mix.

The cycle has featured several recurring singers, and Cosi's Fiordiligi, Ferrando, Guillelmo (as he is named in this version), and Despina see the return of familiar names from the current Harnoncourt line-up.

The Theater an der Wien's moderately-sized auditorium well-suits the concept with a focus on Concencus Musicus' authentic sound palette and Harnoncourt's choice of vocal material.

However, even within this unextravagant framework, the casting of Markus Werba as Alfonso comes as a surprise. While confidently going through the motions, this reading is small-scaled in all respects - barely crossing the footlights and rather leaving the other protagonists in dramaturgical limbo without a substantial puppeteer to pull the strings!

The four lovers are quite decently matched - each with his/her assets and weaknesses, but on this occasion with Mari Eriksmoen earning particular laurels in Fiordiligi's fiendishly-difficult music. The character suits her well and (although her essential vocal material is a notch light for the part) her valiant approach wins the day, with excellent renderings of "Come Scoglio", and "Per Pieta" (amazingly controlled and executed despite severe indigestion problems in the Concentus brass section, and a coughing competition in the stalls).

Katija Dragojevic (Dorabella) is a delightful all-rounder - attractive in appearance, and with a warm-timbred and flexible instrument, while not quite scoring the points of her two female colleagues.

As Guillelmo (da Ponte's original choice according to Harnoncourt - as opposed to the familiar Guglielmo), Andre Schuen shows vocal potential and is essentially suited to the part. However, his stagecraft currently lacks the ability to truly convince in word and action.

Mauro Peter's Ferrando is lyrical, yet full-toned (hinting at scope for a different Fach to come). Though a touch raw in timbre and with some unresolved register issues, the Swiss newcomer cleverly negotiates Mozart's tricky lines, while displaying some fine phrasing and sensitivity. His rather up front convivial manner expanded effectively in the occasional dramatic moment, and made for a lively portrayal.

Despina can be a show-stealer - some might remember Helen Donath's triumph at age 60 in Salzburg a few summers ago in which she displayed immaculate vocalisation and enviable stagecraft.
Here too, the role shines above the remaining cast thanks to Elisabeth Kulman's sheer ability to communicate. Singing with the dexterity of a fine instrumentalist, she deftly refines her rather metallic tone to suit the part (and presumably the conductor), seamlessly bridging registers and dynamics in underscoring her innate musicality and artistic instinct.

Even those who may not be accord with the Nikolaus Harnoncourt school and his sometimes singular interpretations can hardly refute the compelling energy and exotic combination of Concencus Musicus' orchestral sections, assiduously schooled and polished - and on this occasion generally directed within a fairly traditional range of tempi and accents.

The overture was superb, as indeed were most of the set pieces in the score. Act 1's quintet ("Di scrivermi ogni giorno") an absolute highlight, was wonderfully suspended in time - in contrast to "Soave sia il vento", in which Harnoncourt beckoned no less than a hurricane to carry the lovers off to sea.

The concept of partly speaking/partly intoning the recitatives only comes off if the artists span that ability as actors or singing-actors. The additional challenge which was not universally surmounted on this occasion.

Even viewed from the auditorium, Harnoncourt's verve and energy are infectious - and somehow (despite half the cast being foreign) there was something in the air of a home-grown event in a venue which first saw the work in January 1814, performed in German under the title, Die Zauberprobe oder So sind Sie alle.