Organization

Conductor

Pedro Beriso

Singer

Mezzo-soprano

Anna Pennisi

Dorabella

Soprano

Hanne Roos

Despina

Tenor

Reinoud Van Mechelen

Ferrando

Baritone

Edwin Crossley-Mercer

Guglielmo

Bass

Damien Pass

Don Alfonso

Stage director

Anne Teresa De Keersmaeker

Trevor Pinnock

Lighting designer

Jan Versweyveld

Costume designer

An D'Huys

Set designer

Choreographer

Dramaturge

Jan Vandenhouwe

Chorus master

Michiel Haspeslagh

Samantha van Wissen

Michaël Pomero

Katharina Persicke

Fiordiligi

Cynthia Loemij

Marie Goudot

Julien Monty

Boštjan Antončič

Opera Ballet Vlaanderen

Others

Choeur Opéra Vlaanderen

Orchestra

Symfonisch Orkest Opera Ballet Vlaanderen

италиански

Così fan tutte

Ghent

Belgium

Opera Gent (Operagebouw)

Antwerp

Opera Antwerp

Così fan tutte Mozart

Public

нидерландски

английски

Approved

In de interpretatie van Guy Joostens Così fan tutte van Mozart worden zowel mannen als vrouwen geconfronteerd met liefdestrouw. Meer info: bit.ly/obv-ytAbonn...

‎In the warm-up of the opera Così fan tutte by Mozart and Da Ponte, director Guy Joosten tells how he portrays the illusion of love fidelity of both men and women

Così fan tutte (Wolfgang Amadeus Mozart) - warm-up

Look for two inseparable pairs of lovers. Send the men off to war – but not really. Let them return in disguise and try to seduce each other’s sweetheart. What are the odds they succeed? No, this isn’t the trailer for the umpteenth reality show, but the main idea behind Così fan tutte, the last opera on which Mozart worked with Lorenzo Da Ponte.

In this opera buffa, the enlightened philosopher Don Alfonso brings his guinea pigs together like particles in an alchemist’s experiment. His purpose is to prove by experiment that faithfulness in love does not exist. Taking reason as his compass and the liberated Despina as his sidekick, he undermines all the clichés about relationships.

 

Three years after the acclaimed premiere at the Opéra Garnier in Paris, Anne Teresa De Keersmaeker’s Così fan tutte is coming to Flanders. Her abstract directing might well be the 21st-century key to this ambiguous tragic-comedy. This choreographer conducts her own experiment on an empty, white stage: a study of the chemistry between song and movement. Each vocal soloist is shadowed by a Rosas dancer who embodies the volcanic tension between words and music. After all, Mozart frequently gives his own twist to the libretto. According to De Keersmaeker, his music transforms this seemingly trivial boulevard comedy into a contemplation with an almost cosmic-religious air. Her Così too is a melancholy meditation on desire and death, and the complexity of the human soul.

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