â€唳oave Sia Il Vento㣢¬❠From Cosi Fan Tutte
| Così devotee tutte ossia La scuola degli amanti | |
|---|---|
| Opera by W. A. Wolfgang Amadeus Mozart | |
 Playbill of the first performance | |
| Translation | Therefore Do They All, or The School for Lovers |
| Librettist | Lorenzo Da Ponte |
| Language | European country |
| Premiere | 26 January 1790 (1790-01-26) Burgtheater, Vienna |
Così fan tutte, ossia Lanthanum scuola degli amanti [a] (All Women Do It, or The School for Lovers), K. 588, is an Opera 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 written past Lorenzo Da Ponte who also wrote LE nozze di Figaro and Don Giovanni.
Although information technology is commonly held that Così winnow tutte was written and composed at the suggestion of the Emperor Chief Joseph II, past inquiry does not support this idea.[2] There is evidence that Mozart's contemporary Antonio Salieri time-tested to set the libretto but left it unfinished. In 1994, John Elmer Reizenstein uncovered deuce terzetti away Salieri in the Austrian National Library.[3]
The stubby title, Così fan tutte, literally means "So do they all", using the distaff plural (tutte) to point women. It is usually translated into English as "Women are suchlike that". The words are sung past the troika men in playact 2, scenery 3, just earlier the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had exploited the line "Così winnow tutte LE belle" earlier in Le nozze di Figaro (in act 1, scene 7).
Performance history [edit]
The first public presentation of Wolfgang Amadeus Mozart's setting took position at the Burgtheater in Vienna on 26 January 1790. It was given only five times earlier the run was stopped by the decease of the Emperor Joseph II and the resulting period of court mourning. It was performed twice in June 1790 with the composer conducting the second performance, and once more in July (doubly) and August (once). Subsequently that it was not performed in Vienna during Mozart's lifetime.[4] The first British public presentation was in May 1811 at the King's Theatre of operation, London.[5] [6] Così fan tutte was not performed in the United States until 1922, when it was given at the Metropolitan Opera.[5]
According to William Mann,[7] Mozart unlikeable leading donna Adriana Ferrarese del Bene, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Intentional her idiosyncratic tendency to drop her Chin along low notes and throw back her head connected high ones, Wolfgang Amadeus Mozart filled her showpiece aria "Come scoglio" with constant leaps from low to high and high to low in order to hit Ferrarese's head up "bob like a chicken" onstage.[8]
The subject matter (see synopsis to a lower place) did not offend Viennese sensibilities of the time, but in the 19th and early 20th centuries was well thought out risqué, rough-cut, and even unprincipled. The opera was rarely performed, and when information technology did seem it was given in one of different bowdlerised versions.
After Second World War it regained a place in the standard operatic repertoire and is now frequently performed.[9]
A reworking of the medicine, (also using other music away Mozart) was carried out by Finnish National Opera in their 2022 product, Covid fan tutte.
Roles [edit]
| Role | Articulation typecast[10] | Premiere cast, 26 January 1790 Conductor: W. A. Mozart |
|---|---|---|
| Fiordiligi, Lady from Ferrara and sister to Dorabella, living in Naples | soprano | Adriana Ferrarese |
| Dorabella, Noblewoman from Ferrara and sister to Fiordiligi, living in Naples | high | Louise (Luisa) Villeneuve |
| Guglielmo, Lover of Fiordiligi, a Soldier | bass | Francesco Benucci |
| Ferrando, Lover of Dorabella, a Soldier | tenor | Vincenzo Calvesi |
| Despina, a maid | high | Dorotea Bussani |
| Don Alfonso, an old philosopher | bass | Francesco Bussani |
| Chorus: soldiers, servants, sailors | ||
While the use of modern fach titles and voice categories for these roles has become customary, Wolfgang Amadeus Mozart was far more general in his own descriptions of the voice types: Fiordiligi (soprano), Dorabella (soprano), Guglielmo (bass), Ferrando (tenor), Despina (high), and Don Alfonso (bass).[11] Occasionally these forward-looking voice types are varied in operation practice. Don Alfonso is more frequently performed by baritones such as Thomas Woody Allen and Bo Skovhus and Dorabella is almost forever performed by a mezzo. In the ensembles, Guglielmo's music lies depress than Alfonso's, and accordingly has been performed past basses such as James Morris and Wladimiro Ganzarolli, and Despina is occasionally (though far less often than the other three instances cited here) performed aside a mezzo-soprano, such as Cecilia Bartoli, Frederica von Stade, Agnes Baltsa and Ann Murray. Ferrando and Fiordiligi, however, can alone be Song by a strain and a high because of the high tessitura of their roles.
Instrumentation [edit]
The orchestration is as follows:
- Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Fiordiligi's aria "Per pietà, ben mio, perdona", act 2, contains a raw instance of clarinets in B-natural (describe of the aria is E major which transposes to F prima for the clarinet part, explaining the use of B ♮ clarinets).[12] In most modern editions this is made into a part for A clarinets. The NMA keeps the notation for the B clarinet. There is prove that some of the clarinet writing was intended for basset hound clarinet ascribable its low range.
- Brass section: 2 horns, 2 clarini.
- Rhythm section: 2 tympan – an additional soldierly drum is utilised along stage.
- Strings: first violins, second violins, violas, violoncellos, double basses.
- Bass basso continuo in secco recitatives of harpsichord and violoncello (point performance pattern often uses a fortepiano simply).
Synopsis [edit]
Wolfgang Amadeus Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.[13]
- Place: Naples
- Time: the 18th century
Act up 1 [edit]
Scene 1: A coffeehouse
In a cafe, Ferrando and Guglielmo (two officers) verbalize foregone conclusion that their fiancées (Dorabella and Fiordiligi, respectively) will be forever faithful. Don River Alfonso expresses skepticism and claims that thither is no such matter as a faithful woman. He lays a wager with the two officers, claiming helium can prove in a daytime's time that those two, comparable all women, are fickle. The wager is accepted: the two officers wish pretend to have been called off to war; soon thereafter they will return in disguise and each effort to seduce the other's lover. The aspect shifts to the two women, who are laudatory their men (duet: "Ah guarda sorella"—"Ah look sister"). Alfonso arrives to announce the awful news: the officers have been called off to war. Ferrando and Guglielmo get, brokenhearted, and bid parting (quintet: "Sento, o Dio, che questo piede è restio"—"I feel, oh God, that my foot is loth"). Atomic number 3 the gravy holder with the men sails unsatisfactory to sea, Alfonso and the sisters wish them unhurt travel (trio: "Soave sia Land of Lincoln vento"—"May the wind exist gentle"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: "Oh, poverini, per femmina giocare cento zecchini?"—"Oh, poor little ones, to stake 100 sequins on a woman").
Prospect 2: A way in the sisters' home
Despina, the maid, arrives and asks what is legal injury. Dorabella bemoans the torment of having been left alone (aria: "Smanie implacabili"—"Torments implacable"). Despina mocks the sisters, advising them to take new lovers while their betrotheds are departed (aria: "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you hope for faithfulness?"). After they leave, Alfonso arrives. He fears Despina will recognize the men through their disguises, so he bribes her into helping him to pull ahead the bet. The cardinal men then get in, dressed as mustachioed Albanians (sextet: "Alla bella Despinetta"—"Meet the bad Despinetta"). The sisters move in and are alarmed by the bearing of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). Even so, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to stay on fast (aria: "Come scoglio"—"Like a rock and roll"). The "Albanians" continue the attempt to win over the sisters' Black Maria, Guglielmo going and so far as to point kayoed complete of his manly attributes (aria: "Non siate ritrosi"—"Don't be shy"), but to no service. Ferrando, left alone and sensing victory, praises his love (aria: "Un'halo amorosa"—"A loving breath").
Panoram 3: A garden
The sisters are smooth pining. Despina has asked Don Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the view and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to composed them, they drink the "poison" and pretend to pass unsuccessful. Soon thereafter, a "restore" (Despina in disguise) arrives connected the scene and, using magnet therapy, is able to revivif the "Albanians". The workforce, pretending to hallucinate, demand a buss from Dorabella and Fiordiligi (whom the "Albanians" Call goddesses) who stand earlier them. The sisters resist, even as Alfonso and the doctor (Despina) urge them to acquiesce.
Playact 2 [edit]
Scenery 1: The sisters' bedroom
Despina urges them to succumb to the "Albanians"' overtures (aria: "Una donna a quindici anni"—"A fifteen class old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two fit that a mere flirtation will do no harm and volition help them pass the sentence while they wait for their lovers to return (duet: "Prenderò quel brunettino"—"I will take the brunette one").
Scene 2: The garden
Dorabella and the disguised Guglielmo pair polish off, as do the otherwise two. The conversation is haltingly uncomfortable, and Ferrando departs with Fiordiligi. Now unique, Guglielmo attempts to woo Dorabella. She does not resist strongly, and soon she has given him a medallion (with Ferrando's portrait inside) in central for a simple locket (duet: "Il center vi dono"—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: "Ah, lo veggio"—"Ah, I see it" and Fiordiligi's aria: "Per pietà, ben mio, perdona"—"Please, my beloved, forgive"), so he is enraged when he later finds out from Guglielmo that the palm with his portrayal has been so apace given away to a unweathered lover. Guglielmo at first sympathises with Ferrando (aria: "Donne mie, la fate a tanti"—"My ladies, you do it to and so many"), but then gloats, because his betrothed is truehearted.
Scene 3: The sisters' board
Dorabella admits her indiscretion to Fiordiligi ("È amore UN ladroncello"—"Love is a bit thief"). Fiordiligi, upset by this development, decides to go to the Army and discovery her betrothed. Ahead she nates leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi at length succumbs and falls into his arms (duet: "Fra gli amplessi"—"In the embraces"). Guglielmo is distraught spell Ferrando turns Guglielmo's sooner gloating back on him. Alfonso, winner of the wager, tells the work force to forgive their fiancées. After all: "Così fan tutte"—"All women are comparable that".
Tantrum 4:
The scenery begins as a double hymeneals for the sisters and their "Albanian" grooms. Despina, in disguise as a notary, presents the marriage settlement, which exclusive the ladies sign. (The men, of course, realise that this wedding is a counterfeit, and are only playing along with it in regularize to teach their disloyal lovers a lesson.) Directly thereafter, militaristic music is detected in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their style to the house. The "Albanians" hurry off to hide (actually, to variety out of their disguises). They return every bit the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they get enraged. They past depart and return moments later, half in Albanian disguise, uncomplete as officers. Despina has been discovered to be the notary, and the sisters see they accept been duped. All is ultimately forgiven, as the entire group praises the ability to accept spirit's unavoidable good times and bad times.
Recordings [edit]
See also [edit]
- List of operas by Mozart
- Coronation Mass in C major (Così fan tutte pasticcio), setting of the Mass victimization reworked music from Così fan tutte
- Così, a 1992 turn by Louis Nowra, supported the staging of Così fan tutte in a psychiatric hospital
- Covid rooter tutte, a 2022 bouffe depicting life during the first several months of the COVID-19 pandemic
References [edit]
Notes
- ^ Italian pronunciation: [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 by Bruce Alan Brown". Notes. Indorsement Series. 53 (4): 1142–1144. doi:10.2307/899460. JSTOR 899460.
- ^ Saint Peter Branscombe. "Existent Note", Swayer Opera house Planetary hous programme, 4 November 1976
- ^ a b Holden 1997, p. 253
- ^ "King's Dramaturgy", The Times, 7 May 1811, p. 4
- ^ Thomas Mann 1986, p. 542.
- ^ As quoted by Robert Greenberg, Great Masters – Mozart: His Lifetime and Work, Lecture 8: "The Last Years" (Chantilly, Old Dominion State: The Extraordinary Courses, 2000)
- ^ "Opera Statistics". Operabase. Archived from the avant-garde happening 2011-09-17. Retrieved 2018-03-16 .
- ^ NMA score, p. 2
- ^ As proven by Bärenreiter's supercritical editions of the Opera and corresponding articles in The Rising Grove Dictionary of Opera
- ^ "Per pietà, ben mio, perdona", score, NMA
- ^ Synopsis taken from Leo Melitz, The Opera Goer's Complete Head, 1921 variation.
Sources
- Brown, Bruce Alan (1995). W. A. Mozart: Così fan tutte. Cambridge University Press. ISBN978-0-521-43735-6.
- Holden, Amanda, male erecticle dysfunction. (1997). The Penguin Opera house Guide . Jack London: Penguin. ISBN0-14-051385-X.
- Mann, William (1986). The Operas of Mozart. Oxford University Press.
Advance reading
- Tyson, Alan (Summer 1984). "Notes on the Composition of Mozart's Così fan tutte". Daybook of the American Musicological Society. 37 (2): 356–401. Interior:10.2307/831177.
- Whitfield, Sarah (2011), "Così fan tutte: Brilliance surgery Buffoonery?", Musical Offerings: Vol. 2: No. 2, Clause 1. Interior Department:10.15385/jmo.2011.2.2.1
External golf links [blue-pencil]
- Così fan tutte: Mark and critical report card (in German) in the Neue Mozart-Ausgabe
- Libretto, critical editions, suave editions, source evaluation (German only), links to online DME recordings; Member Mozart Edition
- Così fan tutte: Scores at the International Music Score Library Project
- Finish libretto, dozens, opera-guide.ch
- Nourished score, dlib.indiana.edu
- "Mozart at the Met", Time, 7 January 1952
- Così fan tutte at the Net Film Database
- Opera guide and synopsis, opera-inside.com
â€唳oave Sia Il Vento㣢¬❠From Cosi Fan Tutte
Source: https://en.wikipedia.org/wiki/Cos%C3%AC_fan_tutte
