Wolfgang Amadeus Mozart - Così fan tutte, K. 588 [With score]

Composer: Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791)
Libretto: Lorenzo da Ponte
Conductor: René Jacobs
Performers: Véronique Gens (Fiordiligi), Bernarda Fink (Dorabella), Werner Güra (Ferrando), Marcel Boone (Guglielmo), Graciela Oddone (Despina), Pietro Spagnoli (Don Alfonso)
Choir: Kölner Kammerchor
Orchestra: Concerto Köln

Così fan tutte, ossia La scuola degli amanti, K. 588, opera buffa in two acts, written in 1790

00:00 - Ouvertura

Atto primo
04:06 - I. Terzetto: "La mia Dorabella capace non è"
07:03 - II. Terzetto: "È la fede delle femine come l'araba fenice"
09:34 - III. Terzetto: "Una bella serenata"
11:42 - IV. Duetto: "Ah guarda sorella"
17:51 - V. Aria: "Vorrei dir, e cor non ho, e cor non ho"
19:32 - VI. Quintetto: "Sento, o Dio, che questo piede"
24:42 - VII. Duettino: "Al fato dàn legge quegli occhi vezzosi"
26:46 - VIII. Coro: "Bella vita militar"
28:51 - VIIIa. Quintetto: "Di scrivermi ogni giorno"
31:39 - IX. Coro: "Bella vita militar"
33:19 - X. Terzettino: "Soave sia il vento"
40:12 - XI. Aria: "Smanie implacabili"
44:04 - XII. Aria: "In uomini, in soldati"
49:28 - XIII. Sestetto: "Alla bella Despinetta"
57:17 - XIV. Aria: "Come scoglio immoto resta"
01:02:54 - XV. Aria: "Non siate ritrosi"
01:04:37 - XVI. Terzetto: "E voi ridete?"
01:06:27 - XVII. Aria: "Un' aura amorosa"
01:13:50 - XVIII. Finale: "Ah che tutta in un momento"

01:31:41 - Atto secondo
01:34:55 - XIX. Aria: "Una donna a quindici anni dèe saper ogni gran moda"
01:40:03 - XX. Duetto: "Prenderò quel brunettino, che più lepido mi par"
01:43:14 - XXI. Duetto con coro: "Secondate, aurette amiche"
01:47:00 - XXII. Quartetto: "La mano a me date"
01:52:25 - XXIII. Duetto: "Il core vi dono, bell' idolo mio!"
01:58:29 - XXIV. Aria: "Ah! Io veggio, quell' anima bella al mio pianto resister non sà"
02:04:01 - XXV. Rondò: "Per pietà, ben mio, perdona, all' error"
02:15:54 - XXVI. Aria: "Donne mie, la fate a tanti, a tanti, a tanti"
02:20:33 - XXVII. Cavatina: "Tradito, schernito dal perfido cor"
02:26:42 - XXVIII. Aria: "È Amore un ladroncello"
02:32:43 - XXIX. Duetto: "Fra gli amplessi in pochi istanti"
02:41:09 - XXX. Terzetto: "Tutti accusan le donne, ed io le scuso"
02:42:48 - XXXI. Finale: "Fate presto, o cari amici"

Così fan tutte (All women act that way) is the last of Mozart's three "da Ponte" operas -- those composed to libretti by Lorenzo da Ponte (the other two are Le nozze di Figaro and Don Giovanni). Long neglected and misunderstood, Così emerged from obscurity in the twentieth century and has come to be regarded as among the composer's finest, if also most problematic, works.

It has been assumed that the opera was commissioned by Emperor Joseph II, probably sometime during the summer of 1789. Coming as it did during a fallow period in Mozart's output, the work was a financial boon to him and allowed for the repayment of some debt. Little is known about the creation of the work, but the first rehearsal took place in Mozart's apartment on January 21, 1790, and the first performance was at the Burgtheater in Vienna five days later. This initial run was extremely brief, due to Joseph II's death after only five performances had been mounted; the closing of the Viennese theaters prevented any further performances until June.

Da Ponte's libretto is presumed to be an original work, but its numerous literary precedents included episodes in Ovid's Metamorphosis as well as da Ponte's own libretto for Martin y Soler's L'abore di Diana; the latter was written coincidentally with Così. Suggestions that the plot was based on actual events within Viennese society have not been substantiated. Two friends, Ferrando and Guglielmo, wager with Don Alfonso that their lovers, Fiordiligi and Dorabella, will remain constant in their absence. To prove the point, they depart under false pretenses and return as "Albanians" who try to woo the women away.

The libretto has long been considered flimsy, misogynistic, immoral, and dramatically unresolvable. However, any judgement of the opera as a whole must take account of Mozart's exceedingly fine and deeply interesting score. Through music, Fiordiligi transcends her role as the victim of cruel manipulation, revealing a complex personality that is sincere, capable of growth, and inarguably sympathetic. In contrast, Guglielmo never progresses beyond concern for his own ego and interests; his music, fittingly, remains within the stock traditions of opera buffa. Each of the six characters receives an equally insightful portrait, and the ambigous nature of the ending (who actually loves whom?), while vexing to directors and audiences, can be seen as appropriate, given the emotional issues aired during the drama.
[...]
[allmusic.com]

Видео Wolfgang Amadeus Mozart - Così fan tutte, K. 588 [With score] канала Damon J.H.K.