Cosi fan tutte

Synopsis

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.

    Place: Naples
    Time: the 18th century

Act 1

Costume design by Eugène Berman

Scene 1: A coffeehouse

In a cafe, Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. The scene shifts to the two women, who are praising their men (duet: Ah guarda sorella—"Ah look sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and Guglielmo arrive, brokenhearted, and bid 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 wish them safe travel (trio: Soave sia il vento—"May the wind be 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 wager 100 sequins on a woman").

Scene 2: A room in the sisters' home

Despina, the maid, arrives and asks what is wrong. 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 away (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 win the bet. The two men then arrive, dressed as mustachioed Albanians (sextet: Alla bella Despinetta—"Meet the pretty Despinetta"). The sisters enter and are alarmed by the presence of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). However, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to remain faithful (aria: Come scoglio—"Like a rock"). The "Albanians" continue the attempt to win over the sisters' hearts, Guglielmo going so far as to point out all of his manly attributes (aria: Non siate ritrosi—"Don't be shy"), but to no avail. Ferrando, left alone and sensing victory, praises his love (aria: Un'aura amorosa—"A loving breath").

Scene 3: A garden

The sisters are still pining. Despina has asked Don Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend to pass out. Soon thereafter, 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 kiss from the goddesses who stand before them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to acquiesce.

Act 2

Scene 1: The sisters' bedroom

Despina urges them to succumb to the "Albanians"' overtures (aria: Una donna a quindici anni—"A fifteen year old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation will do no harm and will help them pass the time while they wait for their lovers to return (duet: Prenderò quel brunettino"—"I will take the dark one").

Scene 2: The garden

Dorabella and the disguised Guglielmo pair off, as do the other two. The conversation is haltingly uncomfortable, and Ferrando departs with Fiordiligi. Now alone, Guglielmo attempts to woo Dorabella. She does not resist strongly, and soon she has given him a medallion (with Ferrando's portrait inside) in exchange for a heart-shaped locket (duet: Il core 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 medallion with his portrait has been so quickly given away to a new lover. Guglielmo at first sympathises with Ferrando (aria: Donne mie, la fate a tanti—"My ladies, you do it to so many"), but then gloats, because his betrothed is faithful.

Scene 3: The sisters' room

Dorabella admits her indiscretion to Fiordiligi (È amore un ladroncello—"Love is a little thief"). Fiordiligi, upset by this development, decides to go to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi finally succumbs and falls into his arms (duet: 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 fan tutte—"All women are like that."

Scene 4:

The scene begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a notary, presents the marriage contract, which all sign. Directly thereafter, military music is heard in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their way to the house. The "Albanians" hurry off to hide (actually, to change out of their disguises). They return as the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they become enraged. They then depart and return moments later, half in Albanian disguise, half as officers. Despina has been revealed to be the notary, and the sisters realize they have been duped. All is ultimately forgiven, as the entire group praises the ability to accept life's unavoidable good times and bad times.

Program and cast

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Parking is only € 6, - for eight hours!

The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.

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After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.

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History



The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.

 

On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.

 

The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.

 

On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.

 

The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.

 

Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.

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