“The work is considered a comedy about an incredible plot, in which two young men dress up as exotic admirers and seduce their unrecognized brides. The goal is to test their allegiance and win a bet with a love affair veteran claiming that there are no faithful women and all end up cheating on their partners. For some fans of Mozart, however, this is the most complex and bitter masterpiece in which divine music covers in a beautiful form the terrible truth of human helplessness in the face of the contradiction between the temptation of sex and the idea of love. I share this point of view and in my production I show how deeply Mozart of Da Ponte reaches in his critique of the hypocrisy and meanness that the male world is perpetrated towards women.
The perfidy of their idea does not lie in dressing up, but in changing partners at the same time. It means that each gentleman deliberately and with impunity seduces his friend's fiancée. I assumed there was no chance they wouldn't be recognized. So the whole game is played consciously. Initially, women defend themselves from having fun. One resists shorter and the other lasts longer, in line with their sexual temperament. The game leads both sisters to believe that the switch is in line with their true inclinations. So the initial determination of "who with whom" turned out to be wrong. Now it has become clear who should spend their lives with whom. But suddenly the game is over and the men want to go back to the official version.
They have a grudge against the women, although they themselves initiated the game and participated in it without scruples. In my opinion, they are mean and their title statement that "they all do" is brazen. In order to get this sense out of the convention of having fun, we made some interpretations in our staging. I believe that they do not violate the intentions of the opera's creators, but bring them closer to viewers brought up in a different morality and familiar with many bitter truths about human inclinations, which in the Mozart era could not be the subject of public consideration. My performance is against libertines and debaucheers who dress their corruption and contempt for women in philosophical theses and wisdoms that are supposed to testify to experience, and in fact are the result of increasing impotence and a sense of rejection. It is they who spoil young people longing for pure love.
They manipulate values in the world of art and reflection on people, taking away our hope for a positive dimension of human feelings. They are the ones who make sex a false religion and the ultimate truth that cannot be appealed. They argue that play is the highest good in life, and the seriousness of love is ridiculous and pathetic [...] - swindlers proclaiming their pitiful truth about women they treat as objects devoid of individuality and dignity. Unfortunately, sometimes I feel like one of them. So this performance is also my confession of contrition and a form of apology for my vile thoughts and deeds. Someone might say that the opera house is not a place for personal settlements. But opera is a theater, and this is already a place where personal confessions are the foundation. "