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Christophe Pelé / OnP

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Così fan tutte

Wolfgang Amadeus Mozart

Palais Garnier

from 26 January to 19 February 2017

3h40 with 1 interval

Così fan tutte

Palais Garnier - from 26 January to 19 February 2017

Synopsis

"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

Duration : 3h40 with 1 interval

Language : Italian

Show acts and characters

CHARACTERS

Ferrando, Guglielmo: Two young officers
Fiordiligi: Guglielmo’s fiancée
Dorabella: Fiordiligi’s sister, Ferrando’s fiancée
Don Alfonso: Philosopher, friend of Ferrando and Guglielmo
Despina: Fiordiligi and Dorabella’s chambermaid  

Act I

Don Alfonso, a philosopher, ironises on the subject of women’s constancy, causing Ferrando and Guglielmo, two young officers, to declare their unwavering confidence in the faithfulness of their respective brides-to-be, Dorabella and Fiordiligi. Don Alfonso wagers a hundred sequins that the objects of the young girls’ affections can be changed in the course of a day. On their honour as soldiers, the young men undertake to obey Don Alfonso in everything for the next twenty-four hours. Convinced of their victory, they discuss what they will buy with their winnings: Ferrando, a serenade to his beloved, Guglielmo, a banquet. In a garden on the coast, Fiordiligi and Dorabella lovingly contemplate the lockets which enclose their fiancés’ portraits. Don Alfonso, feigning deep sorrow, announces that their lovers have been mobilised and must leave immediately. The two officers come to bid farewell to their fiancées whose despair prompts Don Alfonso to further irony. Despina, the chamber maid, bemoans her lot as a servant. Dorabella’s grandiloquent grief at first worries Despina, but on learning its cause, she suggests her mistresses profit from the absence of their fiancés to amuse themselves. Incensed, Fiordiligi and Dorabella depart. Don Alfonso asks Despina to help him in his schemes in return for some reward, but without revealing to her the full extent of the hoax. He introduces Ferrando and Guglielmo, disguised as Albanians. On returning, Fiordiligi and Dorabella find Despina in the company of the two “strangers”. They express their indignation. Don Alfonso, pretending he has just arrived, introduces the “Albanians” as long-time friends. Guglielmo boasts about their admirable physiques, which provokes the departure of the outraged sisters. Ferrando and Guglielmo consider that they have won, but in Don Alfonso’s view everything is still to play for. In the garden, the sisters lament. The two “Albanians” feign suicide under their eyes by swallowing so-called poison. Don Alfonso calls for a doctor, a disciple of Mesmer, who is none other than Despina in disguise. The two men are miraculously revived and resume their vehement wooing of the young girls.

Act II

Despina gives the sisters a lesson on the behaviour to adopt towards men. Fiordiligi and Dorabella agree to amuse themselves in the company of the “Albanians”, each choosing the fiancé of the other. The two men serenade their sweethearts. Dorabella does not hold out long against Guglielmo’s ardent declarations and gives him the locket containing Ferrando’s portrait. Fiordiligi, though, rejects Ferrando’s advances despite the growing confusion she feels. Ferrando tells his friend of his failure, but is forced to confront Dorabella’s betrayal. Guglielmo declares he has won his half of the wager. Don Alfonso reminds them of the terms of their agreement; he is not beaten yet. Fiordiligi, who is less and less sure of her feelings, decides to join her fiancé with the troops, but Ferrando intervenes. This time she is unable to resist his passionate professions of love and succumbs. Don Alfonso is triumphant: così fan tutte (women are all alike!). He soothes the anger of the two officers and suggests that they marry their sweethearts that very evening. The wedding is being prepared. Despina, disguised as a notary, draws up the fake marriage contracts. Just as they are being signed, a military march signals the return of the fiancés. The young girls panic. The “Albanians” pretend to hide and return as their true selves. They affect surprise on discovering the bogus notary and marriage contracts and demand an explanation from their dismayed fiancées. Don Alfonso then reveals the deception and asks the four young people to let themselves be guided by reason.

Artists

Opera buffa in two acts (1790)


Creative team

Cast

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

Media

  • Schönberg, Verdi, Wagner and Berlioz: the commitment to cycles

    Schönberg, Verdi, Wagner and Berlioz: the commitment to cycles

    Read the article

  • Dancing with words

    Dancing with words

    Watch the video

© Bernd Uhlig

Schönberg, Verdi, Wagner and Berlioz: the commitment to cycles

Read the article

A fresh look at season 15/16

05 min

Schönberg, Verdi, Wagner and Berlioz: the commitment to cycles

By Octave

During the summer break, we offer our readers a retrospective glaze on Stéphane Lissner’s first season at the Paris Opera. The rhythm of season 15/16 was marked by recurring “rendez-vous” with composers whose work, essential or enigmatic, appeals to invention and discovery. Between revivals of timeless productions and creations, these diverse companionships set the tone for an eclectic operatic season, revealing the inexhaustible quality of the Paris Opera Orchestra and Chorus.


"Dare!"

Indeed, inaugurating season 15/16 with a symphonic concert of works by Arnold Schönberg took audacity, furthermore in uncharted territory. The Paris Opera Orchestra invested the Philharmonie de Paris for the first time with the Variations for orchestra, op.31, a major modern piece, inaugurating a cycle dedicated to the Austrian composer. Philippe Jordan carried out the audacious project of making Schönberg’s work better known in its diversity through a series of concerts and recitals which was followed by Pierrot Lunaire and the String Quartet, op.10 a reflection of his shift from late romanticism to atonality – and the Gürre Lieder. The climax of this commitment was undoubtedly the mobilization of all the vital forces of the Paris Opera in the service of Moses und Aron, Schönberg’s unfinished philosophical opera, reputed for its reluctance to the stage. “There is something deeply theatrical and human in this work that must be recognized” insists Philippe Jordan in an interview. The task had been handed to the most plastic of today’s stage directors, Romeo Castellucci. The result was a striking journey through contradictory signs, trails of tainting speech and haunting images, succeeding in making Schönberg our contemporary. To complete the cycle, the composer’s early style of feverous romanticism found a perfect embodiment with the Paris Opera Ballet dancers in Verklärte Nacht choreographed by Anne Teresa de Keersmaeker. The choreographer will renew her collaboration with the Paris Opera by stage directing Così fan tutte, which will inaugurate a Da Ponte trilogy.    
"La Nuit transfigurée" d'Anne Teresa De Keersmaeker © Agathe Poupeney

"Vibrate!"

As for Moses und Aron, season 15/16 was marked by the return to grace of works rarely – or never – given on the Paris Opera’s stages so that some shows were practically must-see events. Last March, a new production of Richard Wagner’s Die Meistersinger von Nürnberg, which hadn’t been performed for over a quarter of a century, thrilled the audience. Philippe Jordan teamed up again with stage director Stefan Herheim to offer five hours of musical and scenic jubilation. Through Hans Sachs’ character, Wagner reflects on the artist’ status and design a self-portrait to a comical effect. The Wagnerian cycle will pursue with a concert of excerpts from the Tetralogy and Lohengrin directed by Claus Guth with Jonas Kaufmann singing the title-role. Faithful to the Paris Opera, the German tenor lent his voice to Hector Berlioz’s La Damnation de Faust which inaugurated a cycle dedicated to the composer. This complex “dramatic legend” displays the forward-thinking talent of a visionary composer and the audience will have the possibility to discover the musical richness of his works with Béatrice et Bénédict in concert version.
Sophie Koch, Jonas Kaufmann
Sophie Koch, Jonas Kaufmann © Élena Bauer / OnP

"Desire!"

Through cycles, one is amazed at the variety of artistic worlds that can spring from the work of one composer. The cycle dedicated to Giuseppe Verdi displayed with flying colors the repertoire’s vitality. This season, two internationally acclaimed stage directors made their Paris Opera debuts taking over operas by Verdi. Spanish stage director Alex Ollé, from la Fura dels Baus, addressed the issue of aggravating social tensions during war time in a First World War set Trovatore. German stage director Claus Guth, for his part, created a melancholic cabaret in a cart wood box from the material of Rigoletto’s fantasies and regrets. Verdi’s “popular trilogy” was completed with a revival of Benoît Jacquot’s production of La Traviata; the French director paying tribute to the sulfurous 19th century heroine with the elegance for which he’s known. The Verdi cycle above all gives time and space to appreciate opera singing. One was able to hear and see the greatest singers in the world perform on the Paris Opera stages: Anna Netrebko, Marcelo Àlvarez, Sonya Yoncheva, and Bryan Hymel… To end the season, like a cherry on the cake, Aida displayed one of the most brilliant vocal casts of the year: with Sondra Radvanovsky in the title-role alongside Alexandrs Antonenko and the revelation Anita Rachvelishvili. The Georgian mezzo-soprano will be back next season in Samson et Dalila and Carmen, the role that earned her international fame; so that we almost wish the end of summer were tomorrow!    
Anita Rachvelishvili
Anita Rachvelishvili © Salvatore Sportato

© Anne Van Aerschot

Dancing with words

Watch the video

Backstage with Cosi fan tutte

4:00 min

Dancing with words

By Octave

A l’occasion de la nouvelle production de Così fan tutte mise en scène par Anne Teresa De Keersmaeker, rencontre en répétition avec les chanteurs Edwin Crossley-Mercer (Guglielmo) et Michèle Losier (Dorabella), et les danseurs Michaël Pomero (Guglielmo) et Cynthia Loemij (Fiordiligi).    

  • Lumière sur : Les répétitions de Così fan tutte
  • Così fan tutte - Wolfgang Amadeus Mozart

Access and services

Palais Garnier

Place de l'Opéra

75009 Paris

Public transport

Underground Opéra (lignes 3, 7 et 8), Chaussée d’Antin (lignes 7 et 9), Madeleine (lignes 8 et 14), Auber (RER A)

Bus 20, 21, 27, 29, 32, 45, 52, 66, 68, 95, N15, N16

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Car park

Q-Park Edouard VII16 16, rue Bruno Coquatrix 75009 Paris

Book your parking spot

At the Palais Garnier, buy €10 tickets for seats in the 6th category (very limited visibility, two tickets maximum per person) on the day of the performance at the Box offices.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Palais Garnier
  • Every day from 10:30 a.m. to 6 p.m. and until performances end
  • Get in from Place de l’Opéra or from within the theatre’s public areas
  • For more information: +33 1 53 43 03 97

Palais Garnier

Place de l'Opéra

75009 Paris

Public transport

Underground Opéra (lignes 3, 7 et 8), Chaussée d’Antin (lignes 7 et 9), Madeleine (lignes 8 et 14), Auber (RER A)

Bus 20, 21, 27, 29, 32, 45, 52, 66, 68, 95, N15, N16

Calculate my route
Car park

Q-Park Edouard VII16 16, rue Bruno Coquatrix 75009 Paris

Book your parking spot

At the Palais Garnier, buy €10 tickets for seats in the 6th category (very limited visibility, two tickets maximum per person) on the day of the performance at the Box offices.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Palais Garnier
  • Every day from 10:30 a.m. to 6 p.m. and until performances end
  • Get in from Place de l’Opéra or from within the theatre’s public areas
  • For more information: +33 1 53 43 03 97

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