| Così fan tutte ossia La scuola degli amanti | |
|---|---|
| Opera by W. A. Mozart | |
 Playbill of the first performance | |
| Translation | Therefore Do They Totally, or The School for Lovers |
| Librettist | Lorenzo District attorney Ponte |
| Language | Italian |
| Premiere | 26 January 1790 (1790-01-26) Burgtheater, Vienna |
Così sports fan tutte, ossia La scuola degli amanti [a] (All Women Coiffe It, or The Train for Lovers), K. 588, is an opera house buffa in two acts by Wolfgang Amadeus Mozart. It was first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was graphical by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.
Although information technology is commonly held that Così fan tutte was written and composed at the suggestion of the Emperor Joseph II, recent research does non support this idea.[2] There is evidence that Mozart's contemporary Antonio Salieri tried to set the libretto but far left it bare. In 1994, John Rice uncovered two terzetti by Salieri in the Austrian National Depository library.[3]
The short-run title, Così fan tutte, literally means "So do they all", using the feminine plural (tutte) to betoken women. It is usually translated into English as "Women are care that". The words are sung away the three men in act 2, scene 3, just before the finale; this melodic phrase is also quoted in the overture to the opera. District attorney Ponte had used the agate line "Così fan tutte LE belle" earlier in Le nozze di Figaro (in act 1, scene 7).
Performance account [edit]
The first performance of Mozart's background took place at the Burgtheater in Vienna on 26 January 1790. Information technology was given only five times before the run was stopped by the death of the Emperor Joseph II and the resulting period of court mourning. It was performed doubly in June 1790 with the composer conducting the second performance, and again in July (twice) and August (once). After that it was not performed in Vienna during Mozart's lifetime.[4] The first British performance was in May 1811 at the Tycoo's Theatre, London.[5] [6] Così winnow tutte was not performed in the Amalgamated States until 1922, when it was donated at the Metropolitan Opera.[5]
According to William Mann,[7] Mozart disliked diva Adriana Ferrarese del Bene, DA Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic inclination to drop her Chin on low notes and throw book binding her head on high ones, Mozart filled her showpiece aria "Derive scoglio" with constant leaps from low to high and broad to low in order to make Ferrarese's drumhead "tail like a chicken" onstage.[8]
The guinea pig thing (see synopsis below) did not offend Viennese sensibilities of the clock, simply in the 19th and early 20th centuries was well thought out risqué, indecent, and still immoral. The opera was rarely performed, and when it did appear it was presented in one of several bowdlerised versions.
After World War II it regained a place in the authoritative operatic repertoire and is instantly frequently performed.[9]
A reworking of the music, (also using other music by Mozart) was carried forbidden past Finnish Nationalist Opera in their 2022 production, Covid fan tutte.
Roles [edit]
| Role | Voice type[10] | Premiere cast, 26 January 1790 Conductor: W. A. Mozart |
|---|---|---|
| Fiordiligi, Madam from Ferrara and sister to Dorabella, life in Naples | soprano | Adriana Ferrarese |
| Dorabella, Lady from Ferrara and sister to Fiordiligi, life in Napoli | soprano | Louise (Luisa) Villeneuve |
| Guglielmo, Lover of Fiordiligi, a Soldier | bass | Francesco Benucci |
| Ferrando, Lover of Dorabella, a Soldier | tenor | Vincenzo Calvesi |
| Despina, a maid | soprano | Dorotea Bussani |
| Preceptor Alfonso, an old philosopher | bass | Francesco Bussani |
| Chorus: soldiers, servants, sailors | ||
While the use of innovative fach titles and spokesperson categories for these roles has turn usual, Mozart was ALIR more full general in his own descriptions of the interpreter types: Fiordiligi (soprano), Dorabella (high), Guglielmo (bass), Ferrando (high-pitched), Despina (soprano), and Don Alfonso (freshwater bass).[11] Now and again these modern voice types are varied in performance pattern. Don Alfonso is more frequently performed by baritones such Eastern Samoa Thomas Allen and Bo Skovhus and Dorabella is almost always performed aside a mezzo-soprano. In the ensembles, Guglielmo's music lies lower than Alfonso's, and accordingly has been performed by basses such as James Morris and Wladimiro Ganzarolli, and Despina is occasionally (though far less often than the other three instances cited here) performed by a mezzo, such as Cecilia Bartoli, Frederica von Stade, Agnes Baltsa and Ann Sir James Augustus Murray. Ferrando and Fiordiligi, notwithstandin, hindquarters only be sung by a tenor and a high-pitched because of the squeaking tessitura of their roles.
Orchestration [edit]
The instrumentation is as follows:
- Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Fiordiligi's aria "Per pietà, ben mio, perdona", act 2, contains a rare example of clarinets in B-raw (key of the aria is E senior which transposes to F major for the clarinet persona, explaining the use of B ♮ clarinets).[12] In most innovative editions this is successful into a part for A clarinets. The NMA keeps the notation for the B clarinet. At that place is evidence that some of the clarinet committal to writing was supposed for basset clarinet due to its down in the mouth roam.
- Nerve: 2 horns, 2 clarini.
- Percussion: 2 timpani – an extra expeditionary drum is used on stagecoach.
- Strings: first violins, second violins, violas, violoncellos, double basses.
- Bass voice continuo in secco recitatives of harpsichord and cello (geological period carrying out rehearse often uses a fortepiano only).
Synopsis [blue-pencil]
Mozart and Da Ponte use the musical theme of "fiancée swapping", which dates in reply to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Bard of Avon's meet Cymbeline. Elements from William Shakspere's The Taming of the Shrew are also present. What is more, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.[13]
- Direct: Naples
- Time: the 18th century
Act as 1 [edit]
Scene 1: A cafe
In a cafe, Ferrando and Guglielmo (cardinal officers) express certainty that their fiancées (Dorabella and Fiordiligi, severally) will be eternally faithful. Don Alfonso expresses skepticism and claims that thither is no such thing as a faithful woman. He lays a wager with the two officers, claiming He can prove in a solar day's sentence that those two, like each women, are fickle. The stake is unquestioned: the deuce officers will hazard to have been called forth to war; soon thereafter they will pass in camouflage and each undertake to make the separate's lover. The view shifts to the two women, who are praising their men (yoke: "Ah guarda sorella"—"Ah flavor sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and Guglielmo arrive, brokenhearted, and call farewell (quintet: "Sento, o Dio, che questo piede è restio"—"I feel, oh God, that my foot is reluctant"). As the boat with the men sails off to sea, Alfonso and the sisters indirect request them safe travel (trio: "Soave sia il vento"—"May the hint be aristocratic"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: "Buckeye State, poverini, per femmina giocare cento zecchini?"—"Oh, poor little ones, to wager 100 sequins connected a woman").
Scene 2: A room in the sisters' home
Despina, the maid, arrives and asks what is criminal. Dorabella bemoans the torment of having been left alone (aria: "Smanie implacabili"—"Torments implacable"). Despina mocks the sisters, advising them to take newly lovers while their betrotheds are away (aria: "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you hope for faithfulness?"). Afterward they give, Alfonso arrives. He fears Despina will recognize the men through their disguises, thusly he bribes her into helping him to win the bet. The two men past arrive, dressed as mustachioed Albanians (half a dozen: "Alla bella Despinetta"—"Suffer the beautiful Despinetta"). The sisters inscribe and are alarmed by the presence of peculiar men in their home. The "Albanians" tell the sisters that they were LED by love to them (the sisters). Withal, the sisters deny to knuckle under. Fiordiligi asks the "Albanians" to leave and pledges to remain true (aria: "Number scoglio"—"Like a rock"). The "Albanians" continue the attempt to win ended the sisters' hearts, Guglielmo going heretofore arsenic to remonstrate whol of his manly attributes (aria: "Non siate ritrosi"—"Don't be deficient"), but to no service. Ferrando, left alone and detection triumph, praises his get laid (aria: "Un'aura amorosa"—"A loving breath").
Scene 3: A garden
The sisters are still pining. Despina has asked Don Alfonso to lease her repeat the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are non allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend to pass out. Presently thenceforth, a "doctor" (Despina in disguise) arrives on the scene and, using magnet therapy, is able to revive the "Albanians". The men, pretending to hallucinate, demand a osculation from Dorabella and Fiordiligi (whom the "Albanians" call goddesses) who stand ahead them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to assent.
Act 2 [edit]
Vista 1: The sisters' bedroom
Despina urges them to knuckle under to the "Albanians"' overtures (aria: "Una donna a quindici anni"—"A fifteen class beach wormwood"). Later she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation leave do no harm and will helper them pass the time spell they hold for their lovers to income tax return (duet: "Prenderò quel brunettino"—"I volition take the brunette one").
Setting 2: The garden
Dorabella and the disguised Guglielmo pair off, Eastern Samoa do the former two. The conversation is haltingly uncomfortable, and Ferrando departs with Fiordiligi. Now alone, Guglielmo attempts to court Dorabella. She does not resist strongly, and soon she has given him a medallion (with Ferrando's portrayal exclusive) in exchange for a heart-shaped locket (duet: "Il gist vi dono"—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: "Ah, lo veggio"—"Ah, I insure IT" and Fiordiligi's aria: "Per pietà, ben mio, perdona"—"Please, my beloved, forgive"), so he is maddened when He later finds out from Guglielmo that the medal with his portrayal has been so quickly given outside to a new lover. Guglielmo at offse sympathises with Ferrando (aria: "Donne mie, la fate a tanti"—"My ladies, you have sex to so many"), but then gloats, because his affianced is faithful.
Scene 3: The sisters' way
Dorabella admits her indiscretion to Fiordiligi ("È amore un ladroncello"—"Love is a little thief"). Fiordiligi, upset by this development, decides to hold out to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted conquest. Fiordiligi finally succumbs and falls into his arms (dyad: "Fra gli amplessi"—"In the embraces"). Guglielmo is distraught while Ferrando turns Guglielmo's earlier gloating back on him. Alfonso, winner of the wager, tells the men to forgive their fiancées. After all: "Così buff tutte"—"All women are like that".
Prospect 4:
The aspect begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a notary public, presents the marriage contract, which exclusive the ladies sign. (The men, of course, realise that this wedding is a affect, and are lonesome acting along with it ready to Blackbeard their unfaithful lovers a lesson.) Directly thereafter, subject area music is heard in the outstrip, indicating the rejoinder of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are connected their way to the theatre. The "Albanians" hurry off to hide (actually, to exchange out of their disguises). They return as the officers, professing their make love. Alfonso drops the marriage contract before of the officers, and, when they interpret it, they become enraged. They then depart and paying back moments later, half in Albanian disguise, half as officers. Despina has been revealed to constitute the notary public, and the sisters actualise they have been duped. All is at last forgiven, as the uncastrated chemical group praises the ability to accept biography's unavoidable good multiplication and bad times.
Recordings [edit]
See also [edit]
- List of operas by Wolfgang Amadeus Mozart
- Enthronization Sight in C major (Così fan tutte pasticcio), stage setting of the Mass exploitation reworked music from Così fan tutte
- Così, a 1992 play by Louis Nowra, founded on the staging of Così devotee tutte in a medicine hospital
- Covid fan tutte, a 2022 comic opera portraying life during the first several months of the COVID-19 pandemic
References [edit]
Notes
- ^ European nation orthoepy: [koˈsi ffan ˈtutte osˈsiːa la ˈskwɔːla deʎʎ aˈmanti, koˈzi -] [1]
Citations
- ^ "cosí", Dizionario di pronuncia italiana online
- ^ Brown 1995, p. 10.
- ^ Collins, Michael B. (June 1997). "Review: Così fan tutte away Bruce Alan Brown". Notes. Moment Series. 53 (4): 1142–1144. doi:10.2307/899460. JSTOR 899460.
- ^ Peter Branscombe. "Past Note", Royal Opera House programme, 4 November 1976
- ^ a b Holden 1997, p. 253
- ^ "King's Theatre", The Times, 7 Crataegus oxycantha 1811, p. 4
- ^ Mann 1986, p. 542.
- ^ As quoted aside Robert Greenberg, Great Masters – Mozart: His Life and Work, Call on the carpet 8: "The Last Old age" (Chantilly, Virginia: The Good Courses, 2000)
- ^ "Opera Statistics". Operabase. Archived from the master copy on 2011-09-17. Retrieved 2018-03-16 .
- ^ NMA score, p. 2
- ^ As evidenced by Bärenreiter's vituperative editions of the opera and corresponding articles in The Unaccustomed Grove Dictionary of Opera
- ^ "Per pietà, ben mio, perdona", make, NMA
- ^ Abstract embezzled from Leo Melitz, The Opera Goer's Complete Guide, 1921 version.
Sources
- Browned, Bruce Alan (1995). W. A. Mozart: Così fan tutte. Cambridge University Press. ISBN978-0-521-43735-6.
- Holden, Amanda, ed. (1997). The Penguin Opera Guide . London: Penguin. ISBN0-14-051385-X.
- Mann, William (1986). The Operas of Mozart. Oxford University Pressur.
Further Reading
- Tyson, Alan (Summer 1984). "Notes on the Composition of Mozart's Così buff tutte". Journal of the American Musicological Society. 37 (2): 356–401. doi:10.2307/831177.
- Whitfield, Sarah (2011), "Così fan tutte: Brilliance or Clowning?", Musical Offerings: Vol. 2: No. 2, Clause 1. doi:10.15385/jmo.2011.2.2.1
Outward links [edit out]
- Così winnow tutte: Score and discriminative theme (in German) in the Neue Mozart-Ausgabe
- Libretto, critical editions, diplomatic editions, source evaluation (German only), links to online DME recordings; Digital Wolfgang Amadeus Mozart Edition
- Così fan tutte: Scores at the International Music Score Library Project
- Complete libretto, dozens, opera-conduct.ch
- Brimfull score, dlib.Hoosier State.edu
- "Wolfgang Amadeus Mozart at the Met", Time, 7 January 1952
- Così fan tutte at the Internet Movie Database
- Opera guide and synopsis, opera-inside.com
What Do Idonomeo, Don Giovanni, and Cosi Fan Tutte Have in Common?
Source: https://en.wikipedia.org/wiki/Cos%C3%AC_fan_tutte