Così fan tutte

Wolfgang Amadeus Mozart

Palais Garnier - from 23 January to 19 February 2017

Così fan tutte

Opera buffa in two acts (1790)

Music
Wolfgang Amadeus Mozart
Libretto
Lorenzo Da Ponte

In Italian

Conductor
Philippe Jordan
Director
Anne Teresa De Keersmaeker
Choreography
Anne Teresa De Keersmaeker
Fiordiligi
Jacquelyn Wagner
Ida Falk-Winland
Dorabella
Michèle Losier
Stephanie Lauricella
Ferrando
Frédéric Antoun
Cyrille Dubois
Guglielmo
Philippe Sly
Edwin Crossley-Mercer
Don Alfonso
Paulo Szot
Simone Del Savio
Despina
Ginger Costa-Jackson
Maria Celeng
Fiordiligi (Danseur)
Cynthia Loemij
Dorabella (Danseur)
Samantha Van Wissen
Guglielmo (Danseur)
Michaël Pomero
Ferrando (Danseur)
Julien Monty
Despina (Danseur)
Marie Goudot
Don Alfonso (Danseur)
Boštjan Antončič
Set design
Jan Versweyveld
Costume design
An D’Huys
Lighting design
Jan Versweyveld
Dramaturgy
Jan Vandenhouwe
Chorus master
Alessandro Di Stefano

Orchestre et Choeurs de l’Opéra national de Paris
Avec les danseurs de la Compagnie Rosas

Ce spectacle fera l’objet d’une captation audiovisuelle

Une co-production Opéra national de Paris, Telmondis, Idéale Audience et Mezzo avec le soutien du CNC, réalisée par Louise Narboni.
Diffusion en direct au cinéma le 16 février, diffusion sur Mezzo ultérieurement.
Diffusion sur France Musique ultérieurement.

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about


"For the moment you love this man. Later you’ll love another; one’s as good as another since all are worthless."  

despina, Acte I, scène 9


Prompted by Don Alfonso, a cynical old philosopher, two young idealists decide to put their lovers’ fidelity to the test. But love will teach them a bitter lesson: those who believe themselves phoenixes and goddesses will discover the desires of the flesh… In 1790, one year after the French Revolution, in what would be their final collaboration, Mozart and Da Ponte conduct a scientific investigation of love.The music of Così fan tutte is truly extraordinary – complex in its symmetry, jovial and yet infused with an almost sacred melancholia. An extraordinary score where each note seems intended to make us accept a loss – lost paradise, lost youth, or a lost loved-one – and portray a world where all is in a constant state of flux. This laboratory of eroticism could but inspire choreographer Anne Teresa De Keersmaeker, who excels in revealing a work’s innermost geometry on stage. With six singers doubled by six dancers, she depicts the desire which unites and separates human beings, like the interactions between atoms that, once broken, make new bonds possible

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Adieu Bohème