Laugh at love, old man, for you and I both know that women are all the same.
But don't say your heart isn't moved when I sing of love...
Mozart's opera about testing fidelity is an intriguing story set to music of impossible beauty. Two men disguise themselves as Albanians and attempt to seduce each other's lover in an elaborate ruse to win a bet. Absurd? Yes, but Mozart's luminous music takes the absurd and makes it sublime.
Come along for a merry ride and you’ll see that under that veil of farce is a poignant drama about love, faith, loss and sex.
Director David McVicar delivered profound and acclaimed productions of Don Giovanni and The Marriage of Figaro, so we're excited to see what he has in store for this final instalment of the Da Ponte trilogy.
Jonathan Darlington returns to conduct a cast of Opera Australia's finest talents, along with American tenor Charles Castronovo, who makes his Australian debut.
Introduction by David McVicar
"Così fan tutte!" (All women are the same!); so believes the cynical old philosopher Don Alfonso and his reckless young friends, the officers Guglielmo and Ferrando agree to put his theory to the test, participating in an elaborate charade, attempting the seduction of each other's fiancees, the sisters Fiordiligi and Dorabella. The four young people soon discover more about each other, themselves and life itself than any of them have bargained for.
Mozart's bitter-sweet romantic comedy was his final collaboration with the greatest of his librettists, Lorenzo Da Ponte, following the triumphant successes of The Marriage of Figaro and Don Giovanni. Premiered in 1790, just one year before Mozart's death, it was also a huge hit; but the sudden death of the Austrian Emperor Joseph II curtailed performances and Mozart's own death the following winter put paid to any immediate revivals. It was not until the early 20th century, with notable productions in Vienna under the direction of Gustav Mahler and at Glyndebourne in 1934, that the public began once again to appreciate a work, dismissed in the 19th century as immoral, disgraceful or even worthless.
The questions the opera poses to an audience are today even greater and possibly more disturbing. Often played in the past as an all-out farce, the subtle mix of sexual politics, heart-break, loss and pain that are inherent in the final masterpiece of Mozart and Da Ponte are more relevant today than ever before.
The new production sets this most troubling and ambiguous of operatic comedies in the dying days of a Europe about to lose itself in the carnage of the First World War. The ravishing costumes of the early 1900's are bathed in the late summer light of an age of innocence and elegance on the brink of being shattered, as the lives of the four lovers in the comedy ultimately are.
- Tues 19/7/16 : 7.30pm
- Fri 22/7/16 : 7.30pm
- Mon 25/7/16 : 7.30pm
- Wed 27/7/16 : 7.30p
- Sat 30/7/16 : 7.30pm
- Fri 5/8/16 : 7.30pm
- Thur 11/8/16 : 7.30pm
- Sat 13/8/16 : 7.30pm
- Conductor Jonathan Darlington
- Director David McVicar
- Set & Costume Designer Moritz Junge
- Lighting Designer David Finn
- Fiordiligi Nicole Car
- Dorabella Anna Dowsley
- Destiny Taryn Fiebig
- Fernando Charles Castronovo
- Guglielmo Andrew Jones
- Don Alfonso Richard Anderson