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Vor einem Tag · Playbill from the premiere of Così fan tutte, on 26 January 1790. One of the keys to unlocking Cosi as something more than a overly simplistic farce lies in accepting that the final restoration of the status quo is highly unlikely: just as Fiordiligi and Dorabella would not meekly return to their original partners, so the two men cannot come through the experience unscathed either.
Vor 5 Tagen · While the main Royal Opera company is away on tour performing Rigoletto and Turandot in Japan — Antonio Pappano’s final engagement as music director — a revival of Così fan tutte is an obvious...
Vor 23 Stunden · The Royal Opera House has announced a cast change for its July 2, 2024 performance of “Cosí fan Tutte.”. The company announced that Daniel Behle cancelled tonight’s performance of Ferrando. As a result, British tenor, Anthony Gregory, who is presently rehearsing at Opera Holland Park, will make his house debut.
Vor 4 Tagen · Carmen oder Così fan tutte, beide Oper standen jetzt vor den Ballett-Tagen noch auf dem Spielplan der Hamburgischen Staatsoper. Wir mussten Abo-Tauschkarten einsetzen, und entschieden uns ob der mehrfach guten Besprechungen in diesem Blog für die Mozart-Oper. Und es hat sich gelohnt. Die mehr als 3 Stunden Nettospielzeit vergingen dank eines ...
Vor 5 Tagen · Jan Philipp Gloger’s production of Così fan tutte is back at the Royal Opera House for its fourth revival in eight years. Often considered ‘problematic’, with its gendered take on fidelity and morals, it nonetheless contains some of Mozart’s most exquisite music, which is somewhat at odds with its frivolous plot.
Vor 5 Tagen · Così fan tutte (Women are like that) is a two-act comic opera and the last of the composer’s three collaborations with librettist Lorenzo Da Ponte, the other two being Le nozze di Figaro and Don Giovanni, that have become such a central part of the operatic canon.
Vor 5 Tagen · Così fan tutte (Photo: Clive Barda) First seen in 2016, as a replacement for Jonathan Miller’s venerable staging that serviced the Royal Opera well throughout the ‘90s and early ‘00s, German director Jan Philipp Gloger’s take on Mozart and Da Ponte’s opera about the fidelity of women refuses to take the work at face value.
