Organization

Opéra de Lausanne

Дирижер

Дирижер (+5)

Diego Fasolis

Режиссер-постановщик

Jean Liermier

Художник-постановщик

Художник по костюмам (+3)

Rudy Sabounghi

Художник по костюмам

Художник по свету

Jean-Philippe Roy

Сопрано (+3)

Arianna Vendittelli

Фьордилиджи

Меццо-сопрано (+5)

Wallis Giunta

Дорабелла

Тенор

Pavel Petrov

Феррандо

Бас (+4)

Robert Gleadow

Гульельмо

Бас (+7)

Rubén Amoretti

Дон Альфонсо

Marie Lys

Деспина

Orchestra

Orchestre de Chambre de Lausanne

Chorus

Chœur de l'Opéra de Lausanne

Хормейстер

Ассистент режиссера

Хореограф (+3)

Jean-Philippe Guilois

Парикмахер

Художник по гриму (+4)

Cécile Kretschmar

When he set to work on his first work with the ‘imperial poet’ Lorenzo da Ponte in the autumn of 1785, it had been three years since Mozart had touched opera. Their first partnership on Le nozze di Figaro was an immediate triumph, so much so that the Emperor of Austria himself, who loved it, demanded more. In 1789, he commissioned a new opera buffa, while personally imposing the subject: the on-stage transposition of a (true-life) story that everyone in Vienna was talking about, that of two officers who, while stationed in Trieste, had… swapped wives! This was to be Così fan tutte. Both Mozart and Da Ponte outdid themselves. A Venetian familiar with the most tortuous paths of love and, more generally, with the whole range of emotional subtleties inherent to human nature, the poet delivers a pared-down work in which equivocation and offbeat humour are given free rein, in the purest buffa tradition. Perfectly in tune with these different levels of language and understanding, Mozart let himself be carried along by the plot, delivering a virtuoso score in terms of the refined combinations it offers: duets, ensembles, and even the use of the orchestra itself to spice up the whole thing with innuendo. And all this in barely a month!

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