Name: Così fan tutte
Start: 2009-07-30T00:00:00.000Z
End: 2009-08-26T00:00:00.000Z
Location: Haus für Mozart

Organization

Conductor

Adam Fischer

Soprano

Miah Persson

Fiordiligi

Mezzo-soprano

Isabel Leonard

Dorabella

Tenor

Topi Lehtipuu

Ferrando

Baritone

Johannes Weisser

Guglielmo

Bass

Bo Skovhus

Don Alfonso

Patricia Petibon

Despina

Costume designer

Anna Sofie Tuma

Set designer

Christian Schmidt

Stage director

Claus Guth

Lighting designer

Olaf Winter

Dramaturge

Andri Hardmeier

Video

Kai Ehlers

Malin Hartelius

Joel Prieto

Florian Boesch

Singer

Bradley Moore

Cembalo

Salzburger Festspiele

Others

Concert Association of the Vienna State Opera Chorus

Orchestra

Wiener Philharmoniker

意大利文

Così fan tutte

Salzburg

Austria

Haus für Mozart

At the 2009 Salzburg Festival, the renowned German director Claus Guth completed his three-part Mozart/Da Ponte cycle (Le nozze di Figaro - Don Giovanni - Cosě fan tutte), which he had begun in the 2006 Mozart Year. In the main roles of this production, which was well received by the public and the press: Bo Skovhus (Don Alfonso), Miah Persson (Fiordiligi), Isabel Leonard (Dorabella), Topi Lehtipuu (Ferrando), Florian Boesch (Guglielmo) and Patricia Petibon (Despina).

"On the stage, nothing but good-looking, slim, playful, yes - mad singers and an appealing choreography, in the pit what is probably the best Mozart orchestra in the world (the Vienna Philharmonic), plus a conductor, Adam Fischer, who carries out his duties by heart and devotedly attached to the scene" (Tagesspiegel.de).

Vienna 1790: With "Cosě fan tutte ossia La scuola degli amanti" Mozart writes another buffo opera after "Le nozze di Figaro" and "Don Giovann" based on a text by Lorenzo da Ponte commissioned by Emperor Joseph II. The libretto is actually created in collaboration with Antonio Salieri, who, for unknown reasons, did not complete the composition he had begun in 1789. "Cosě fan tutte" has long been controversial; Shortly after Mozart's death, the "silly and immoral content" was criticized by Ludwig van Beethoven, Hugo von Hofmannsthal and Richard Wagner, among others.

The masterpiece was only appreciated and accepted in the 20th century, since the music has all the characteristics of Mozart's best compositions: colorful instrumentation, balanced harmony, rich melody and a sophisticated psychological and dramaturgical characterization of the characters. Inimitable, Mozart succeeds in depicting the ambiguity of the situations and the oscillating between seriousness and irony.
"Cosě fan tutte" contains not only some of the most beautiful arias Mozart ever composed, but also the most ensembles of all his operas. Although the libretto was considered frivolous when it was written, it clearly shows Mozart's realistic and anything but glorified view of the sexes.

Großes Festspielhaus

Così fan tutte Mozart

Public

德文

英文

Approved

[DEUTSCH] Ausschnitt aus der Festspiel-Produktion von 2009. Mozarts Da-Ponte-Trilogie in der Regie von Claus Guth bei den Salzburger Festspielen 2011: Premie...

“Così fan tutte le belle! Non c’è alcuna novità” – “Thus act all the beauties! No news there,” as the line from Le nozze di Figaro, the first work written together by Mozart and Da Ponte, goes. Four years later, this allegation is put to the test: in their third and last collaboration, Così fan tutte, an experiment is designed to reveal the truth about women’s supposed lack of faithfulness. An ambiguous game begins, exposing deeper and deeper layers of feeling. The clear-eyed view of the confusion of human relations opens up an abyss that seems to go far beyond the framework of a Dramma giocoso. This stage work – in some ways Mozart’s most radical – is not so much a “School for Lovers” as a continuous dissection of hearts. In the tension between love and passion, security and selfnegation, faithfulness and betrayal, the couples get lost in emotional chaos. Mozart’s music traces the inner contradictions of his figures without ever betraying them, and suddenly makes us doubt our confident belief that we can separate playfulness from earnestness, dream from reality.

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