Organization

Opéra de Lausanne

Direction d'orchestre

Direction d'orchestre (+5)

Diego Fasolis

Mise en scène

Jean Liermier

Décors

Costumes (+3)

Rudy Sabounghi

Costumes

Lumières

Jean-Philippe Roy

Soprano (+3)

Arianna Vendittelli

Fiordiligi

Mezzo-soprano (+5)

Wallis Giunta

Dorabella

Ténor

Pavel Petrov

Ferrando

Basse (+4)

Robert Gleadow

Guglielmo

Basse (+7)

Rubén Amoretti

Don Alfonso

Marie Lys

Despina

Orchestra

Orchestre de Chambre de Lausanne

Chorus

Chœur de l'Opéra de Lausanne

Chef de chœur

Assistant mise en scène

Chorégraphie (+3)

Jean-Philippe Guilois

Coiffure

Maquillage (+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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