Recording
Title: Cosi Fan Tutte
Performer: Carol Vaness, Dolores Ziegler, John Aler, et al.
Director: Bernard Haitink
Year: 1986
Length: 3 hours 10 minutes
Review
Cosi Fan Tutte is the third and last of the great operas that Mozart did with the collaboration of Lorenzo de la Ponte, the same guy who did the libretto for Le Nozze Di Figaro and Don Giovanni. So we know it is another interesting exploration of social status and erotic love.
So it is, Mozart creates a quite strange opera, with a libretto that could easily be turned into a light comedy Mozart transforms it into a kind of sadistic absurdist work.
The opera is so inconclusive and the music so emotional that it is either about a weird swinger's club or about entrapment. It is these levels of interpretation that the Ponte-Mozart association creates that make the operas so interesting. So it it an essential end to a trilogy of operas looking at the depths of human erotic feeling, even if it is not as amazing as the previous two.
Final Grade
9/10
Trivia
From Wikipedia:
The subject matter did not offend Viennese sensibilities of the time, but throughout the 19th and early 20th centuries it was considered risqué. The opera was rarely performed, and when it did appear it was presented in one of several bowdlerised libretti.
After World War II, it regained its place in the standard operatic repertoire. It is frequently performed and appears as number fifteen on Opera America's list of the 20 most-performed operas in North America
Soave Sia Il Vento:
Title: Cosi Fan Tutte
Performer: Carol Vaness, Dolores Ziegler, John Aler, et al.
Director: Bernard Haitink
Year: 1986
Length: 3 hours 10 minutes
Review
Cosi Fan Tutte is the third and last of the great operas that Mozart did with the collaboration of Lorenzo de la Ponte, the same guy who did the libretto for Le Nozze Di Figaro and Don Giovanni. So we know it is another interesting exploration of social status and erotic love.
So it is, Mozart creates a quite strange opera, with a libretto that could easily be turned into a light comedy Mozart transforms it into a kind of sadistic absurdist work.
The opera is so inconclusive and the music so emotional that it is either about a weird swinger's club or about entrapment. It is these levels of interpretation that the Ponte-Mozart association creates that make the operas so interesting. So it it an essential end to a trilogy of operas looking at the depths of human erotic feeling, even if it is not as amazing as the previous two.
Final Grade
9/10
Trivia
From Wikipedia:
The subject matter did not offend Viennese sensibilities of the time, but throughout the 19th and early 20th centuries it was considered risqué. The opera was rarely performed, and when it did appear it was presented in one of several bowdlerised libretti.
After World War II, it regained its place in the standard operatic repertoire. It is frequently performed and appears as number fifteen on Opera America's list of the 20 most-performed operas in North America
Soave Sia Il Vento:
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