Name: Così fan tutte
Start: 2021-10-03T00:00:00.000Z
End: 2022-04-14T00:00:00.000Z
Location: Staatsoper Unter den Linden

Organization

Festtage Berlin

Soprano

Federica Lombardi

Fiordiligi

Mezzo-soprano

Marina Viotti

Dorabella

Barbara Frittoli

Despina

Tenor

Paolo Fanale

Ferrando

Baritone

Gyula Orendt

Guglielmo

Bass

Lucio Gallo

Don Alfonso

Stage director

Vincent Huguet

Conductor

Daniel Barenboim

Lighting designer

Irene Selka

Costume designer

Clémence Pernoud

Set designer

Aurélie Maestre

Dramaturge

Louis Geisler

Chorus master

Martin Wrigh

Giuseppe Mentuccia

Evelin Novak

Elsa Dreisig

Assistant Director

José Darío Innella

Caroline Staunton

State Opera Berlin

Orchestra

Staatskapelle Berlin

Others

Staatsopernchor Berlin

State Opera Chorus

taliančina

Così fan tutte

Berlin

Germany

Staatsoper Unter den Linden

Two couples madly in love, a cynical single man and an hedonistic servant find themselves embarking into the action of a mad bet! After the success of last Spring’s Le nozze di Figaro, the Staatsoper Berlin is back with another unmissable Mozartian masterwork: Così fan tutte. Under the direction of the world famous Daniel Barenboim, the Staatskapelle Berlin and the soloists honor the Salzburg genius’ score and Lorenzo da Ponte’s libretto with a wonderful rendition of the opera. Federica Lombardi, Marina Viotti, Gyula Orendt, Paolo Fanale, Barbara Frittoli, and Lucio Gallo perform with immense talent on the stage designed by Aurélie Maestre, with Clémence Pernoud’s costumes once again being delightfully retro. An evening of lyricism and fun, to be missed under no circumstance!

Two couples who find each other in different constellations, driven by a bet about alleged and actual infidelity, are at the center of Mozart's »Così fan tutte« (»That's how everyone does it«) with the succinct subtitle »La scuola degli amanti« (»The School of Lovers"). The witty text by the librettist Lorenzo Da Ponte encouraged the experienced opera composer Mozart to write music that was just as deep in thought.

After »Le nozze di Figaro« and »Don Giovanni«, Mozart and Da Ponte worked together for the third time in 1789/90 with »Così fan tutte«. For the first time, the Viennese court poet designed a subject of his own invention. It offered Mozart numerous starting points for the original development of arias, duets, trios and other ensemble movements, up to the two great finales. In this finely structured chamber play, his already astonishing art of musical characterization is shown at a new level, with a multitude of very different moments of expression. Morality and lack of morality are addressed, not only in philosophical discourse, but primarily in the actions of lifelike characters who walk the fine line between truth and deception.

Così fan tutte Mozart

Public

nemčina

angličtina

Approved

"I think what Mozart and Da Ponte did together, is a celebration of life".
This season, Vincent Huguet is staging the Mozart-Da Ponte cycle at our house together with General Music Director Daniel Barenboim. He spans the history of the characters from the early 1970s in COSÌ FAN TUTTE, through the 1980s in LE NOZZE DI FIGARO to the present day in DON GIOVANNI.
Here he tells what he thinks COSÌ FAN TUTTE is really about and why he sets the opera in the era of flower power.


In dieser Spielzeit inszeniert Vincent Huguet gemeinsam mit Generalmusikdirektor Daniel Barenboim den Mozart-Da Ponte-Zyklus an unserem Haus. Er spannt die Geschichte der Figuren dabei von den frühen 70er Jahren in COSÌ FAN TUTTE, über die 80er Jahre in LE NOZZE DI FIGARO bis zur heutigen Zeit in DON GIOVANNI.
Hier erzählt er, worum es in COSÌ FAN TUTTE seiner Meinung nach wirklich geht und warum er die Oper in der Zeit des Flower Power ansiedelt.

Vincent Huguet about his staging of COSÌ FAN TUTTE

Two couples who find each other in different constellations, driven by a bet about alleged and actual infidelity, are at the center of Mozart's »Così fan tutte« (»That's how everyone does it«) with the succinct subtitle »La scuola degli amanti« (»The School of Lovers"). The witty text by the librettist Lorenzo Da Ponte encouraged the experienced opera composer Mozart to write music that was just as deep in thought.

After »Le nozze di Figaro« and »Don Giovanni«, Mozart and Da Ponte worked together for the third time in 1789/90 with »Così fan tutte«. For the first time, the Viennese court poet designed a subject of his own invention. It offered Mozart numerous starting points for the original development of arias, duets, trios and other ensemble movements, up to the two great finales. In this finely structured chamber play, his already astonishing art of musical characterization is shown at a new level, with a multitude of very different moments of expression. Morality and lack of morality are addressed, not only in philosophical discourse, but primarily in the actions of lifelike characters who walk the fine line between truth and deception. With the production of Mozart's last comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim kick off a new Da Ponte cycle at the Staatsoper Unter den Linden.

English

Zwei Paare, die sich in unterschiedlichen Konstellationen finden, angetrieben von einer Wette um angebliche wie tatsächliche Untreue, stehen im Zentrum von Mozarts »Così fan tutte« (»So machen’s alle«) mit dem prägnanten Untertitel »La scuola degli amanti« (»Die Schule der Liebenden«). Der geistreiche Text des Librettisten Lorenzo Da Ponte hat den versierten Opernkomponisten Mozart zu einer ebenso gedankentiefen Musik animiert.

Nach »Le nozze di Figaro« und »Don Giovanni« arbeiteten Mozart und Da Ponte 1789/90 mit »Così fan tutte« das dritte Mal zusammen. Erstmals entwarf dabei der Wiener Hofpoet ein Sujet aus eigener Erfindung heraus. Mozart bot es zahlreiche Anknüpfungspunkte für die originelle Ausgestaltung von Arien, Duetten, Terzetten und anderen Ensemblesätzen, bis hin zu den beiden großen Finali. In diesem fein gegliederten Kammerspiel zeigt sich seine ohnehin staunenswerte musikalische Charakterisierungskunst auf einer neuen Höhe, mit einer Vielzahl unterschiedlichster Ausdrucksmomente. Moral und Morallosigkeit werden thematisiert, nicht nur im philosophischen Diskurs, sondern in erster Linie im Handeln von lebensechten Figuren, die auf dem schmalen Grat von Wahrheit und Täuschung agieren. Mit der Produktion von Mozarts letzter komischer Oper in italienischer Sprache geben der junge französische Regisseur Vincent Huguet und Daniel Barenboim den Auftakt zu einem neuen Da-Ponte-Zyklus an der Staatsoper Unter den Linden.

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