When this staging was presented in 1992, in various theatres, Gardiner decided to be his own director because he didn't trust any available alternative to be faithful to Da Ponte's and Mozart's original. In the circumstances his was a sensible decision because his deeply discerning stage interpretation perfectly seconds his own musically perceptive reading. His keen understanding of what this endlessly fascinating work is about is made plain in his absorbing essay in the booklet.
The old philosopher Don Alfonso enrages his two friends, the officers Ferrando and Guglielmo, with his claim that their fiancées will sooner or later be unfaithful to them - like all women. He proposes a wager, which the two friends accept. They swear on their honour as soldiers that they will prove him wrong and that Dorabella and Fiordiligi are not like “all women”. The immaculately restored eighteenth-century Court Theatre at the country residence of the Swedish Royal Family is the ideal home for period opera. Ever since Drottningholm Court Theatre was rediscovered in the 1920s, it has served as a living memorial to the fabulous extravagance of courtly entertainment and provided the wherewithal for the recreation of the spectacular scenic transformations of the seventeenth and eighteenth century operatic repertoire. The conductor Arnold Östman was appointed Drottningholm’s Artistic Director in 1980 and immediately set about establishing a Drottningholm Mozart style, attempting to recapture an authentic flavour through detailed historical research and the use of period instruments. He collaborates with German producer Willy Decker on this ever-popular Mozart comedy with an extensively rehearsed cast of young Swedish singers who “…proved a triumph of stylish teamwork, with singers and orchestra listening to each other, almost as it were breathing together.” (Daily Telegraph)
This Così fan tutte enchanted the Baden-Baden Festspielhaus audience when recorded in concert in 2012, with Nézet-Séguin inspiring his stellar cast to feats of vocal derring-do.
An enthusiastic advocate of Mozart s music, Rolando Villazón takes on the lead tenor role. Das Opernglas hailed his debut as Ferrando, calling him ideal for the role we have not heard a more beautiful, better sung and deeper felt Un aura amorosa in a long time. Starring a thrilling cast of both young and experienced Mozart opera stars including accomplished soprano Mojca Erdmann as Despina, acclaimed Mozartian soprano Miah Persson and prize-winning young American mezzo Angela Brower as the emotionally manipulated sisters Fiordiligi and Dorabella. Also joining this crème-de-la-crème cast are distinguished Mozart bass-baritone Adam Plachetka as Guglielmo and Italian buffo baritone Alessandro Corbelli as Alfonso.
Under Franz Welser-Möst’s fabulous conducting this production of the Zurich Opera House is setting musical standards. In conjunction with the director Sven-Eric Bechtolf, he has developed into one of the leading teams in contemporary music theater. A great score, a famous production and wonderful singers: this Così fan tutte live recorded at the famous Zurich Opera House is a ‘must see’ for opera lovers.
Mozart's genius in setting to music Da Ponte's comic play of love, infidelity and forgiveness marks Così fan tutte as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful production for the Glyndebourne Festival in 2006, with its sure touch and theatrical know-how, lives up to its promise to be 'shockingly traditional', while Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality.
A revolutionary treatment of one of the "sacred cows" of the opera repertoire. Daniel Barenboim, who here conducts, invited Munich film director Doris Dorrie to produce Cosi fan tutte for the Staatsoper Berlin in 2002, and the resulting project drew plaudits from die-hard Mozart fans as well as introducing a whole new generation to the opera genre.
It is more than twenty years since Solti last recorded Così for Decca, and if that earlier version was far from ideally cast, this new one more than makes amends. Above all, it has a commanding Fiordiligi in Renée Fleming, who conveys all the tragic vulnerability of this central character. Her performance of the great second-act rondo ‘Per pietà’ would be enough to melt the hardest of hearts. Anne Sofie von Otter and Olaf Bär are in fine form, too; and while Adelina Scarabelli is not exactly a mistress of disguises (she scarcely alters her voice at all for Despina’s part as the mesmeric doctor), her vitality is irresistible. More contentious is the Ferrando of Frank Lopardo. True, he can scale down his voice admirably, but all too often he lacks a genuine sense of line, and his intonation is unreliable.
Sony Classical continues its major Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”. The soloists’ vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today’s ‘period practice’ standards as well as an approach to melodic ornamentation derived from historic sources which cannot be heard in other performances of these works.