Organization

Teatro Jose Lúcio da Silva

Cosi Run Tutti

Leiria

Portugal

Public

Così fan tutte

Approved

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Conductor

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Countertenor

Singer

Mezzo-soprano

Tenor

Soprano

Contralto

Bass-baritone

Baritone

Spoken

Child vocalist

Silent

Alto

Continuo

“Così fan tutte” era para ser uma ópera contemporânea, o cruzamento das estéticas e linguagens do teatro da Palmilha Dentada e a Interferência. O grupo de teatro e o coletivo de criadores de música contemporânea, a que ainda por cima se acrescentava a riqueza e a modernidade dos meios audiovisuais, numa linguagem que não chegando a ser kitsch, era garante de uma modernidade oportuna.

Infelizmente a coisa correu mal. Não é fácil o cruzamento entre o humor da Palmilha e a erudição da música contemporânea da Interferência. Nem os músicos representavam, nem os atores tinham ritmo e principalmente ninguém cantava, coisa que, apesar de todas as estéticas modernas, continua a ser fundamental na montagem de uma ópera, mesmo que contemporânea, mesmo que com meios audiovisuais, mesmo que quase kitsch.

O resultado final – de nome “Cosi run tutti”, em tradução muito livre “assim fogem todos” – não passa de uma reflexão sobre estéticas e a relação entre os criadores e os seus públicos, sobre a importância das políticas culturais e da riqueza e importância dos projetos artísticos pessoais e coletivos para lá das modas dominantes.

Mas, apesar de tudo, o resultado final tem música, humor e cantoria. Já o Mozart, está inocente de toda esta confusão.

português

“Così fan tutte” was to be a contemporary opera, the crossing of the aesthetics and languages ​​of the theater of Palmilha Dentada and Interferencia. The theater group and the collective of contemporary music creators, to which was added the richness and modernity of the audiovisual means, in a language that was not kitsch, was a guarantee of an opportune modernity.

Unfortunately, things went wrong. It is not easy to cross between the humor of Palmilha and the erudition of contemporary music of Interference. Neither the musicians represented, nor the actors had rhythm and, above all, nobody sang, something that, despite all the modern aesthetics, continues to be fundamental in the staging of an opera, even if it is contemporary, even if it uses audiovisual means, even if it is almost kitsch.

The final result – called “Cosi run tutti”, in a very free translation “like this all flee” – is nothing more than a reflection on aesthetics and the relationship between creators and their audiences, on the importance of cultural policies and the wealth and importance of personal and collective artistic projects beyond the dominant fashions.

But, despite everything, the end result has music, humor and singing. Mozart, on the other hand, is innocent of all this confusion.

English

Cosi Run Tutti by Mozart, ol. 17 ots. 2023, Noiztik (2023/2023)

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