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Così fan tutte State Opera Vienna - Wien Sat 13.Jun 2026 19:00 replace me !Così fan tutte State Opera Vienna - Wien Mon 15.Jun 2026 19:00 replace me !Così fan tutte State Opera Vienna - Wien Wed 17.Jun 2026 19:00 replace me !Così fan tutte State Opera Vienna - Wien Fri 19.Jun 2026 19:00 replace me !Così fan tutte State Opera Vienna - Wien Fri 16.Apr 2027 replace me !Così fan tutte State Opera Vienna - Wien Mon 19.Apr 2027 replace me !Così fan tutte State Opera Vienna - Wien Fri 23.Apr 2027 replace me !Così fan tutte State Opera Vienna - Wien Mon 26.Apr 2027 replace me !Così fan tutte State Opera Vienna - Wien Thu 29.Apr 2027 replace me !Don Alfonso explains to Guglielmo and Ferrando that it is quite possible that their fiancés Dorabella and Fiordiligi could be unfaithful - as all women are.
A bet is made and Don Alfonso hires Despina, Fiordiligi and Dorabella's employee, to help with the intrigue. In disguise, the men finally succeed in seducing each other's fiancée. After Don Alfonso and Despina have broken up the intrigue, it is left to the four young lovers to deal with the consequences of the story.
Barrie Kosky's production of Così fan tutte transports the audience to the theater within the theater, where Don Alfonso and his four young actors stage a love experiment. The four are talented: by the second act at the latest, it is no longer possible to tell what is real and what is acted, what is staged and what is escalated.
Barrie Kosky: "I asked myself: what would be a setting in which you can play with what is real emotion and what is acted emotion; what does taking on a role, a costume or an attitude to love mean? In what kind of space can you start and stop the emotion on command, enter it, exit it and even comment on it? What kind of world would that be? At some point I realized: it's the rehearsal room."
Mozart created the work's signature melody from the line "Così fan tutte". Sung only towards the end of the second act, it can be heard in the overture from the eighth bar. After the flattering oboe solo, the famous "begging cadenza" virtually sneaks away: three thirds down, a wistful delay to A minor in the piano, a pause as if for reflection. Mozart's composition of the masque of emotions that characterizes the work is remarkable: does the quiet melancholy of the terzettino "Soave sia il vento" in the first act not capture the general intriguer Don Alfonso to the same extent as the two women who believe their husbands on the battlefield? Doesn't Ferrando's affection for Fiordiligi in their duet in the second act sound just as "real" as his despair in the cavatina "Tradito, schernito" just before it? Mozart's mastery as a dramatic composer reaches a subtle climax here.Lorenzo Da Ponte had originally written the libretto for Antonio Salieri, entitled La scuola degli amanti, today's subtitle. It is not known why Salieri abandoned the setting after a few attempts (which have survived in fragments). What is known, but cannot be proven, is the assumption that Mozart in particular wanted to avoid confusion between the new opera and Salieri's popular dramma giocoso La scuola de' gelosi(The School of the Jealous, premiered in Venice in 1778) and therefore suggested Così fan tutte as the title.Order your tickets for the Vienna State Opera and book your tickets now at viennaticket.at.
(Source: wiener-staatsoper.at)
