"Oh what folly to try to discover the wrong which will make us wretched when we've found it." The wrong of which Don Alfonso speaks with much wisdom and experience is jealousy. Like any mortal poison, it calls for shock treatment. To prove to Ferrando and Guglielmo that women can be just as unfaithful as men (humankind is born fickle), Don Alfonso lays a wager that they will be able to woo their respective fiancées, sisters Dorabella and Fiordiligi, by assuming a new identity. This fool's game soon turns into a plot of couple-swapping that leads to a series of misunderstandings, heartbreaks and revelations that test the four lovebirds' ideals and naivety. In the language of love, actions (and looks) speak louder than words. The essence of Così fan tutte lies in the gap between what is said and not said. Mozart's superb music is more enlightening than Da Ponte's mischievous words. Theatre director David Hermann turns this exploration of the twists and turns of desire first staged in the late 18th century into a romantic odyssey through time and the tumults of the first half of the 20th century.
Overtitled in French, German