Organization

Chanteur

Soprano

Malin Hartelius

Fiordiligi

Mezzo-soprano

Marie-Claude Chappuis

Dorabella

Martina Janková

Despina

Ténor

Martin Mitterrutzner

Ferrando

Baryton

Luca Pisaroni

Guglielmo

Basse

Gerald Finley

Don Alfonso

Direction d'orchestre

Franz Welser-Möst

Mise en scène

Sven-Eric Bechtolf

Costumes

Marianne Glittenberg

Décors

Rolf Glittenberg

Christoph Eschenbach

Salzburger Festspiele

Others

Concert Association of the Vienna State Opera Chorus

Orchestra

Wiener Philharmoniker

italien

Così fan tutte

Salzbourg

Autriche

Haus für Mozart

Vienna 1790: With "Così fan tutte ossia La scuola degli amanti" Mozart writes another buffo opera after "Le nozze di Figaro" and "Don Giovanni" based on a text by Lorenzo da Ponte commissioned by Emperor Joseph II. The libretto is actually written in collaboration with Antonio Salieri, who, for unknown reasons, did not complete the composition he had begun in 1789. "Così 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. It was only in the 20th century that the masterpiece was appreciated and accepted, since the music has all the characteristics of Mozart's best compositions: colorful instrumentation, balanced harmonies, 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.

Two friends - Ferrando and Guglielmo - make a bet with the cynical Don Alfonso, who is supposed to prove to them the natural infidelity of women, in particular their fiancees Fiordiligi and Dorabella. They dress up as strangers and woo each other's brides with various tricks, supported by the housemaid Despina. At first the girls remain steadfast, and the men demand part of their winnings from Don Alfonso. In the course of time, however, the hearts of the sisters open to strangers, and even the wedding is being prepared - suddenly the "right" fiancées appear. A big scene of jealousy ensues when the women confess their infidelity. In return, the men reveal their unfair bet, and the couples are at a loss after this proof of human seducibility. At the end there is a hymn of praise: Happy is the person who only sees everything from the best side, keeps calm through the vicissitudes of life and laughs about it.

Sven-Eric Bechtolf stages this astonishingly topical opera about love, partner swapping, sexuality and power in an oriental-looking, palm-covered salon - this is where the bet on women's fidelity takes its course.https://www.myfidelio.at/mozart-cosi-fan-tutte-2013-salzburger-festspiele/assets/1804

Photos