Olaf Schmidt shakes a strong cocktail of emotions with Mozart's 'Così fan tutte' in the Lüneburg Theater. (...) Everything fits. The balanced quality of the quartet of lovers is the guarantee of success. Celine Akçağ, singing seemingly effortlessly, gives Dorabella something ethereal. Rebekka Reister descends with a warm, sensitive tone deep into the anguish of the soul that is actually in 'Così'. Those are very intense moments. Christian Oldenburg often gives the Guglielmo something lanky, research, with Guillermo Valdés feigned despair and perceived passion come into their own. The two other games are played with noticeable fun in the humor. Ulrich Kratz (...) sings Don Alfonso with a smug undertone as a cold gamer who doesn't care about suffering and love. Franka Kraneis (...) whirls cheekily and happily across the stage as Despina, also has room for solo shine (...) Thomas Dorsch ensures a transparent, often stormy sound, which makes the quieter phases all the more intense. It is the motivation of the musicians as well as the off-screen choir to be heard. The joy of being able to get started again plays a role in this evening, which is celebrated with standing ovations.