Così fan tutte is certainly, of all Mozartian operas, the one in which eroticism most certainly emerges. What resembles the manual of “knowing how to love” is embodied here in a soundtrack of infinite delicacy. The combinatorial effect of the libretto delights in the permutations that arise from the situations (the three men, the three women, the three couples…) and offers Mozart an incredible variety of situations and vocal ensembles (from duet to sextet). The music marries the breathless rhythm of the libretto and all the psychological registers through which the protagonists pass, from sensual disturbance to the most assertive assurance.
For this new production, we find the director Laurent Pelly (who had delighted us three seasons ago with a barber of great refinement) and the conductor Emmanuelle Haïm who we no longer present here as the Theater is its Parisian house for a long time. Both have known each other from a certain Alcina at the Paris Opera and share this taste for theatricality that Cosìis one of the finest examples. We will find for the occasion a team of dream singers. Let us judge: honors to the ladies with the duo Vannina Santoni (blonde Fiordiligi) and Gaëlle Arquez (brunette Dorabella), in turn courted by Ferrando by Cyrille Dubois and Guglielmo by Florian Sempey. Laurent Naouri should camp with the panache we know him the reconciling figure of Alfonso helped in this by the facetious Despina of Anna Aglatova who had charmed us so much in Suzanne des Noces signed James Gray