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1

Wolfgang Amadeus Mozart, Così fan tutte, K. 588

Ouverture

I: "La mia Dorabella"

I: "È la fede delle femmine"

I: "Ah, guarda, sorella"

I: "Sento, o Dio"

I: "Soave sia il vento"

I: "In uomini, in soldati"

I: "Alla bella Despinetta"

I: "Non siate ritrosi"

I: "Un’aura amorosa"

I: "Ah, che tutto"

I: "Eccovi un medico"

I: "Dove son"

I: "Dammi un bacio"

II: "Andate là"

II: "Una donna a quindici anni"

II: "Prenderò quel brunettino"

II: "Secondate, aurette amiche"

II: "La mano a me date"

II: "Il core vi dono"

II: "Per pietà, ben mio, perdona"

II: "Donne mie, la fate"

II: "Tradito, schernito"

II: "È amore un ladroncello"

II: "Fra gli amplessi"

II: "Tutti accusan le donne"

II: "Benedetti I doppi coniugi"

II: "E nel tuo"

II: "Sani e salvi agli amplessi amorosi"

II: "Fortunato"

Mozart's Così fan tutte

Claus Guth (stage director), Daniel Barenboim (conductor) — With Rolando Villazón (Ferrando), Maria Bengtsson (Fiordiligi), Katija Dragojevic (Dorabella), Adam Plachetka (Guglielmo) ...

Opera
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Cast

Claus Guth — Stage director

Maria Bengtsson — Fiordiligi

Katija Dragojevic — Dorabella

Adam Plachetka — Guglielmo

Rolando Villazón — Ferrando

Serena Malfi — Despina

Michele Pertusi — Don Alfonso

Program notes

After The Marriage of Figaro (1786) and Don Giovanni (1787), Così fan tutte (1790) is the third collaboration between Mozart and the poet Lorenzo da Ponte, his librettist. Themes of infidelity and feminine frivolity make their appearance from the first motif, which reappears at the end of the second act accompanied by the titular words: così fan tutte, "all women are like that." Convinced of the fickleness of women, aging cynical philosopher Don Alfonso plants the seeds of doubt in soldiers Ferrando and Guglielmo, making them mistrust their fiancées, sisters Dorabella and Fiordiligi.

Following in the footsteps of some of history's greatest stage directors—Strehler, Chéreau, and Ponnelle—German master Claus Guth seizes upon the dramma giocoso ("drama with jokes"), casting a psychological focus on the couples' partner swapping to play on the oppositions between Eros and Thanatos, being and appearance, through various mises en abyme. The action begins in a stark, bright villa, as pure and white as the ostensible innocence of the lovers' bonds... But changes of heart are on the cards, and Guth transports the characters with poetic acuity from the villa's immaculate walls into the deep woods, where they must find each other once again—an operatic echo of Shakespeare's Midsummer Night's Dream.

A closer look: featured composers

Further listening: featured works

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