Organization

Festtage Berlin

Śpiewak

Sopran

Federica Lombardi

Fiordiligi

Mezzosopran

Marina Viotti

Dorabella

Barbara Frittoli

Despina

Tenor

Paolo Fanale

Ferrando

Baryton

Gyula Orendt

Guglielmo

Lucio Gallo

Don Alfonso

Reżyseria

Vincent Huguet

Dyrygent

Daniel Barenboim

Reżyseria światła

Irene Selka

Kostiumy

Clémence Pernoud

Scenografia

Aurélie Maestre

Dramaturgia

Louis Geisler

Przygotowanie chóru

Martin Wrigh

Giuseppe Mentuccia

Evelin Novak

Elsa Dreisig

Assistant Director

José Darío Innella

Caroline Staunton

State Opera Berlin

Orchestra

Staatskapelle Berlin

Others

Staatsopernchor Berlin

State Opera Chorus

włoski

Così fan tutte

Berlin

Niemcy

Staatsoper Unter den Linden

Two couples madly in love, a cynical single man and an hedonistic servant find themselves embarking into the action of a mad bet! After the success of last Spring’s Le nozze di Figaro, the Staatsoper Berlin is back with another unmissable Mozartian masterwork: Così fan tutte. Under the direction of the world famous Daniel Barenboim, the Staatskapelle Berlin and the soloists honor the Salzburg genius’ score and Lorenzo da Ponte’s libretto with a wonderful rendition of the opera. Federica Lombardi, Marina Viotti, Gyula Orendt, Paolo Fanale, Barbara Frittoli, and Lucio Gallo perform with immense talent on the stage designed by Aurélie Maestre, with Clémence Pernoud’s costumes once again being delightfully retro. An evening of lyricism and fun, to be missed under no circumstance!

Two couples who find each other in different constellations, driven by a bet about alleged and actual infidelity, are at the center of Mozart's »Così fan tutte« (»That's how everyone does it«) with the succinct subtitle »La scuola degli amanti« (»The School of Lovers"). The witty text by the librettist Lorenzo Da Ponte encouraged the experienced opera composer Mozart to write music that was just as deep in thought.

After »Le nozze di Figaro« and »Don Giovanni«, Mozart and Da Ponte worked together for the third time in 1789/90 with »Così fan tutte«. For the first time, the Viennese court poet designed a subject of his own invention. It offered Mozart numerous starting points for the original development of arias, duets, trios and other ensemble movements, up to the two great finales. In this finely structured chamber play, his already astonishing art of musical characterization is shown at a new level, with a multitude of very different moments of expression. Morality and lack of morality are addressed, not only in philosophical discourse, but primarily in the actions of lifelike characters who walk the fine line between truth and deception.

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