Rebecca Afonwy-Jones / Reviżjonijiet

The young lovers were astonishingly well cast and – crucial for this opera I suspect? – they generally had youth on their side. Fiordiligi is the character who is most conflicted by events and has the biggest arc – which Jessica Cale with her bright eloquent soprano created perfectly – from professing Fiordiligi’s rock-like constancy in ‘Come scoglio’, her tenderly introspective ‘Per pietà’, to her succumbing to the impassioned Ferrando in their ‘Fra gli amplessi’ Act II duet.