FIRST NIGHT

UK, 2010, 116 minutes, Colour.
Richard E. Grant, Sarah Brightman, Mia Maestro, Julian Ovenden.
Directed by Christopher Menaul.

First Night is a comedy about the staging of Mozart’s opera, Cosi fan Tutte in the grounds of an English mansion. The plot of the film and the portrait of the cast reflect the characters and themes of the opera. The film does give a good opportunity for opera fans to hear most of the opera.

Richard E Grant appears as Sir Adam, the owner of the mansion. He has had a lifelong ambition to sing the opera, but before the performance he has throat trouble. But, ultimately, the opera is a success.

However, the focus is on the past. Famed singer Sarah Brightman has a rare film role as Celia, the conductor. Mia Maestro is the leading lady and Julian Ovenden the leading man, something of a con man with casual relationships, who enters into a bet to seduce the leading lady before the first night. This leads to some complications, the resentment of the leading lady, the change of heart in the singer, and the two falling in love.

The director is nervous, wants a less static opera and directs with choreography and action. In his encounter with the baritone, he discovers his own homosexual orientation. His partner, receives an invitation to go to La Scala. The supporting singer is a subject of the gardener’s infatuation and has to face her own character.

The film has the light touch but will be appreciated mainly by opera lovers.

1. A film for opera lovers? Mozart? His music, lyrics? The plot? The range of characters?

2. Cosi fan Tutte on stage, in the life of the cast?

3. The theatrical tone of the film, staging the opera, rehearsals, in the hall, the open air?

4. The mood for the film, Le Scala and Paolo, auditions? Nicoletta in a hurry? Auditiion, failure? Paolo sending her away?

5. Philip, as director, auditions, in the toilet, Tom overhearing him, the plan for the audition?

6. Sir Adam, purchase of the mansion, his staff, in the garden, the gardener and his mother, in charge? The builders?

7. Adam and his ambitions, to sing, his wealth, collecting the cast? Accommodation, meals, in the pubs?

8. Celia, age and experience, as conductor, rehearsals, relationship with Adam, knowing Nicoletta, the rehearsals, helping Nicoletta, hearing about the bet, giving Tom the false information, her relationship with Adam?

9. Nicoletta, her age, experience, the ten years, friendship with Celia, relationship with Paolo, tensions, singing with Tom, disliking him?

10. Tom: The bet, Celia and the false information, touching, names, singing popular arias? Apology, the horse riding, his pretence, her being upset? On and off again relationship? Sexual relationship? Her revenge with Paolo present, an interview? Tom, singing, his pretence about the tour? Adam and the
bet, his casual approach to people, sex, inviting Nicoletta to dinner, the failure, apology? The horse ride? Sexual relationship? Her discovery of the bet, his upset, her revenge and his embarrassment? Together at the end?

11. Philip, director, his age, experience, workaholic, Tamsin and her provocative nudity, his ignoring her? Rehearsals, plan for choreography, the scene and directing the action with the men, Martin and his friendship, Martin’s advances, the sexual response? His being caught by Tamsin?

12. Tamasin, her talent, arrival, exuberance, with Philippe, the nude scene, singing with Nicoletta? Her enjoying the rehearsals? jealousy, misunderstanding, the discovery of Philip with Martin? Paolo and his invitation for her to sing at La Scala?

13. Debbie, singing, promiscuous, flirting, with the gardener, his infatuation, her ignoring him, one night stands, the discussions with his mother, her conscience touched, the dance, his wanting to join the opera company to work, her decision to go back to medical studies?

14. Martin, his talent, issues in the past, friendship with Martin, the attraction, the approach? The relationship?

15. Bunny, fussy, costumes, his skills, the camp manner? The assistant director, her efficiency, part of the group? The subsidiary staff?

16. The tension of the rehearsals? The dress rehearsal? bringing their personal feelings to the performance? Being professional? The success of the performance?

17. An operatic comedy with serious overtones?