Così fan tutte is apparently characterised by a return to the traditional patterns of eighteenth-century opera buffa. Its fairly stereotyped characters are more or less treated as the puppets of a director-factotum (as well as the alter ego of Da Ponte) – Don Alfonso. Così fan tutte is the most refined Mozart drama befgore the kind of anticipation of Romanticism found in the Zauberflöte. The complexity of the plot and the psychological realism of the two earlier Da Ponte works – Le nozze di Figaro and Don Giovanni give way in Così fan tutte to less crossing over of dramatic types.
For a long time no one understood that Così fan tutte was open to multiple levels of interpretation. It ranged from the model of the opera seria up to the devices of the most irriverent farcical parody and included both the more intense expressions of subjective feelings and the hieratica stylistic models of sacred music. In short, in these ways Mozart’s multifaceted score fulfilled dramatic aims capable of creating unexpected insights within the solid and logical, rationalist, structure of Da Ponte’s plot.
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