Così fan tutte in Salzburg: to keep How sad, right

this production of "Così fan tutte" will you think for a long time. It is a stroke of luck, a miracle, a celebration, like Wolfgang Amadeus Mozart's "Figaro

Così fan tutte in Salzburg: to keep How sad, right

this production of "Così fan tutte" will you think for a long time. It is a stroke of luck, a miracle, a celebration, like Wolfgang Amadeus Mozart's "Figaro" - Harnoncourt, directed by Claus Guth and conducted by Nikolaus it had been in 2006. At the time, Christine Schäfer managed as Cherubino – delicate, fragile, love, feverish – a role portrait of the epochal rank, you umwuchtete the statics of the piece; this Time the Johannes Martin Kränzle succeed as Don Alfonso.

Jan Brachmann

editor in the features section.

F. A. Z.

as Beckmesser in Barrie Kosky's Bayreuth production of "mastersingers of Nuremberg" had been Kränzle as a superior performer with a mind to bring the all-singing spectacle on a cinematic intimacy, precision and economy. Now he returns from Wagner to Mozart and shocked the audience with the character drawing of a man regarded as a cynic and a misogynist, because he incites his friends, Guglielmo and Ferrando, to the partners in exchange, in order to prove the infidelity of their fiancées, Dorabella and Fiordiligi. But Kränzle is the cynic. He can be put in place – such as Rolf Hoppe in his best moments – a glance, of the emotional cruelty with deep sorrow connects. This Don Alfonso is a melancholic, knows that people are not wise by Knowledge, but only through pain. His gaze on the sleeping women is the end of an unselfish love, almost of a father or doctor. Be illusion-free compassion with the people anticipates the attitude of Anton Chekhov. With the triumphant motto "Così fan tutte" (all women), it is petrified on his face, in bitterness; his voice sings to the action is always your own comment: You can hear how Mozart's Thinking turned into singing. By Kränzle this Comedy of the examined heart is to keep to a study of the sadness, right.

Smart directed by Christof Loy

of Course, behind it is also a clever mind as a Director: Christof Loy. Markus hinterhäuser, artistic Director of the Salzburg festival, had him and the conductor Joana Mallwitz asked to create a pandemic-capable game version of Mozart's last Opera buffa. About a sixth of the music has been deleted from Loy and Mallwitz, on two and a half hours duration of the Performance without a break. But the resulting Version retains its internal consistency, mainly because the Director, the economical, symbolic density, stage design by Johannes Leiacker, and all current costumes by Barbara Drosihn support.

Leiacker provides nothing more than a white wall with two wing doors on the stage. Behind the rooms are only hinted at. In the second act, the wall to the night Park with a large Plane tree in the open, both musically and make sense in a Moment, as Mozart for harmony writes music for woodwind and horns, as it was for the garden, the music of the Rococo usual. Interior and exterior space, soul and body, reason and nature are defined in such a way scenically sense due to Expo, just on the music matched, and from the theses of the enlightenment libretto by Lorenzo da Ponte developed.

Because the scene redeems so beautiful, what the Director says in the program book, we must quote him here: "basically the piece that is pursuing an educational goal. This is but not just to be reasonable, but reasonable in accordance with the nature of the conditions, the (as Don Alfonso says) ,needs of the heart‘. What emerges from this is a greater generosity towards the human environment and – in itself – a peace, a ,bella calma‘, which has less to do with inner peace than with a kind of life of ease.“

Have pity, my love

it is Easy, with a cheering Light, and all the Sweetness of youth sings Elsa Thirty the role of Fiordiligi. In the "rock Aria," you realize that your deep tones d' and c' sound disembodied and vacant. But in the second act, when recitative, to a large Rondo "Have pity, my love," comes to the impeccable beauty of real embers in Dreisigs soprano. Marianne Crebassa, who had three years ago an impressive Sesto in Mozart's "Clemenza di Tito" is sung glows as Dorabella from the beginning. In each of the coloratura, in each Schwellton its technically a sovereign voice, a vivid figure, a woman full of Lust, disgust, enthusiasm, and thoughtfulness to vibrate.

Updated Date: 04 August 2020, 08:20

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