#cosi fan tutte
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marriage of figaro: successful eldest child with an incredibly consistent work/life balance and happy go lucky attitude to the point that people envy them wildly for it
don giovanni: middle child that bucked everyone’s expectations and needs a therapist now and then but is just as if not more successful than eldest sibling
cosi fan tutte: underachieving youngest child that dropped out of college and lived off the grid for a while but is now back with a mildly successful gig career. nobody really knows how to feel about them and their “unique” sense of humor
the magic flute: weirdo half sibling that illustrates children’s books and is pretty popular with everyone despite dubious past mistakes. also might be in the freemasons and may or may not do shrooms
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i NEED to know what the graphic designer for the national theatre is doing w/ mozarts operas. ive never wanted to pick someones brain quite so much. what is the reason for this. what motivates you. who is this for ?
(i cant find the official poster for the marriage of figaro bc it hasnt premiered yet this year afaik but this is their promotional image for it)
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Yesterday I shared links to complete filmed performances available free on YouTube of the top 10 most frequently performed operas. While I'm at it, here are links to performances of the next top 10 most popular operas, all with English subtitles.
Cosí Fan Tutte
Théâtre du Châtelet, 1992 (Amanda Roocroft, Rosa Mannion, Rainer Trost, Rodney Gilfry, Eiran James, Claudio Nicolai; staged and conducted by John Eliot Gardiner)
L'Elisir d'Amore
Vienna State Opera, 2005 (Rolando Villazón, Anna Netrebko, Leo Nucci, Ildebrando d'Arcangelo; staged by Otto Schenk; conducted by Alfred Eschwé)
Aida
San Francisco Opera, 2010 (Micaela Carosi, Marcello Giordani, Dolora Zajick, Marco Vratogna, Hao Jiang Tian; staged by Jo Davies; conducted by Nicola Lusotti)
Hänsel & Gretel
Studio film, 1981 (Brigitte Fassbaender, Edita Gruberova, Sena Jurinac, Hermann Prey; directed by August Everding; conducted by Georg Solti)
Turandot
Opera Hong Kong, 2018 (Oksana Dyka, Alfred Kim, Valeria Sepe; staged by Warren Mok; conducted by Paolo Olmi)
Die Fledermaus
Bavarian State Opera, 1987 (Eberhard Wächter, Pamela Coburn, Wolfgang Brendel, Janet Perry, Brigitte Fassbaender; staged by Otto Schenk; conducted by Carlos Kleiber)
Nabucco
St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi, Elizabeth Kulman, Bruno Riberio, Simon Yang; staged by Robert Herzl; conducted by Ernst Märzendorfer)
Eugene Onegin
Kirov Opera, 1984 (Sergei Leiferkus, Tatiana Novikova, Yuri Marusin, Larissa Diadkova; staged and conducted by Yuri Temirkanov)
Lucia di Lammermoor
Studio film, 1971 (Anna Moffo, Lajos Kozma, Giulio Fioravanti, Paolo Washington; directed by Mario Lanfranchi; conducted by Carlo Felice Cillario)
Paglacci
Lirica Italiana at the Tokyo Bunka Kaikan, 1961; Mario del Monaco, Gabriella Tucci, Aldo Protti, Attilio D'Orazzi; conducted by Giuseppe Morelli)
#opera#complete performance#cosi fan tutte#l'elisir d'amore#aida#hansel and gretel#turandot#die fledermaus#nabucco#eugene onegin#lucia di lammermoor#pagliacci#english subtitles#youtube
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Biting the bullet and posting a thing. This feels appropriate
(That's Guglielmo on the left and Ferrando on the right, to be clear)
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#opera#puccini#verdi#mozart#cherubini#classical music#operas#operablr#tosca#la boheme#falstaff#the magic flute#medea#rossini#the barber of seville#the marriage of figaro#cosi fan tutte
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Happy Cosi premiere day!!! I'm celebrating with the 2006 Salzburg and enjoying it very much.
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What are the hallmarks of a "Cosi Fan Tutte" production by people who "just don't get it"? What do you think are the most typical mistakes that directors make?
So in Regietheater they like to translate stories in a certain way. Here we have Don Carlos, which appears to be about a terminally sentimental prince failing to escape the Spanish court with his bestie. Here we have Salome, which appears to be about a lady dancing to get a guy killed so she can make out with his corpse. Or here we have Lohengrin, which appears to be about an elf-lord traveling with a swan and making unreasonable demands. No, say opera directors, appearances are deceiving. All these stories are actually about bourgeois family dynamics.
Well, in the case of Così fan Tutte, we have to translate in the other direction; dig through the trivial relationship story down to the exciting bits. This story appears to be a farce about exchanging fiancees. But it really has a lot to say about love, about fidelity and friendship, about masculinity and femininity, even about foreigners and wars, and the question to what degree all these things are real and to what degree they are just pretense.
The basic idea of Così fan Tutte is that the characters learn true and real things about themselves through the contrivance of a masquerade, and end up hurt when the masquerade ends. There's a lot of potential in that. Maybe it's a reality TV show that Don Alfonso is running. Maybe it's just a coffee-house philosopher's personal project as in the text. Maybe it's a scientific experiment, maybe it's a party game. I personally really like the circular versions where the inciting incident is a production of Così fan Tutte. In any case, you have to come up with something. Just making Don Alfonso a sex enthusiast is not going to cut it, this is clearly not something he does every day.
Offenders:
Met 2013 (… nothing?),
Berlin 2021 (hippies),
Munich 2022 (sex dungeon)
Excellent examples:
ROH 2016 (theater),
Lausanne 2018 (reality show),
Paris 2022 (music)
And related to that is the concept of the costume itself. I'm always a big fan of opera characters seeing through every disguise. Especially in Così, where it is not likely that the sisters wouldn't recognize the men they've seen every day, whose portraits they are carrying around. But the idea of being disguised allows them to do things they would not normally dare. Things such as becoming soulmates with your sister's partner, or even just practising some free love.
So yes, strictly speaking you don't need the costumes at all, but if you're going to use costumes, they should be elevated from daily life. They might be attractive, or they might just have a dream-like quality that explains the disinhibition of both the men and the women. They should ideally not be orientalist, unless you have something really important to say about that aspect.
Offenders:
ROH 2010 (rockstars?),
Salzburg 2013 (kaftans and terrible wigs)
Salzburg 2020 (hawaii shirts)
Excellent examples:
Glyndebourne 2006, where it's pretty obvious why you'd fall for the disguised men,
Salzburg 2009, where they're covered in soil because things are getting real,
Madrid 2013, where there is practically no disguise because this is about the soul
Ultimately what makes this opera good is the music. So my other demand is that the production can't be too busy, it must give the music room to breathe. This has mostly been fine IME, I've only seen one production that felt the need to have a bunch of stuff going on during the big arias. But that production was so bad overall that it shall not be named lest someone be tempted to look it up.
Sorry this is long, I tried to cut it down as much as possible, but this is my second favorite opera in the world.
#cosi fan tutte#long post#ask me things#i tried to give good productions as good examples and bad ones as bad examples#but most of the bad ones have some redeeming features and most of the good ones have some flaws#and my number one favorite production doesn't really fit this scheme so it's not mentioned here
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Miah Persson as Fiordiligi in Così fan tutte, Salzburg 2009
#insanity#time to make up for not miahposting in over a year#miah persson#cosi fan tutte#opera tag#opera gifs
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Poesie serali...
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Instead of doing the extremely important and urgent things I have to do, I have chosen to illustrate my ideal Così fan tutte character heights.
#operaposting#cosi fan tutte#it is so important to me that both of ferrando’s girlfriends are taller than him
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The Top 40 Most Popular Operas, Part 2 (#11 through #20)
A quick guide for newcomers to the genre, with links to online video recordings of complete performances, with English subtitles whenever possible.
Johann Strauss II's Die Fledermaus
The most famous Viennese operetta, a rollickling comedy set amid Vienna's high society.
Studio film, 1971 (Eberhard Wächter, Gundula Janowitz, Renate Holm, Waldemar Kmennt, Wolfgang Windgassen; conducted by Karl Böhm)
Mozart's Cosí Fan Tutte
A comedy of romantic partner-swapping, its cynical libretto juxtaposed with Mozarts sublime music.
Zürich Opera, 2009 (Malin Hartelius, Anna Bonitatibus, Javier Camarena, Ruben Drole, Martina Janková, Oliver Widmer; conducted by Franz Welser-Möst)
Verdi's Aida
The quintessential "grand opera": a tragedy of love vs. duty and country amid the pomp and pageantry of ancient Egypt, which inspired the Elton John/Tim Rice musical of the same name.
St. Margarethen Opera Festival, 2004 (Eszter Sümegi, Kostadin Andreev, Cornelia Helfricht, Igor Morosow; conducted by Josef Pancik)
Humperdinck's Hänsel & Gretel
The quintessential "children's opera," based on the classic fairy tale.
Studio film, 1981 (Brigitte Fassbaender, Edita Gruberova, Sena Jurinac, Hermann Prey, Helga Dernesch; conducted by Georg Solti)
Donizetti's L'Elisir d'Amore (The Elixir of Love)
A sweet romantic comedy in the Italian bel canto style.
Vienna State Opera, 2005 (Rolando Villazon, Anna Netrebko, Leo Nucci, Ildebrando d'Arcangelo; conducted by Alfred Eschwé)
Puccini's Turandot
A dark fairy tale of love and deadly riddles in ancient China: controversial in its Orientalism, but with thrilling music, including the ever-famous tenor aria "Nessun dorma."
Opera Hong Kong, 2018 (Oksana Dyka, Alfred Kim, Valeria Sepe, George Andguladze; conducted by Paolo Olmi)
Die Lustige Witwe (The Merry Widow)
Another iconic example of Viennese comic operetta.
Metropolitan Opera, 2014 (Renée Fleming, Nathan Gunn, Kelli O'Hara, Alek Shrader, Thomas Allen; conducted by Andrew Davis) (sung in English)
Act I, Act II, Act III
Tchaikovsky's Eugene Onegin
The most famous of all Russian operas, based on Alexander Pushkin's great verse novel of unrequited love.
Kirov Opera, 1984 (Sergei Leiferkus, Tatiana Novikova, Yuri Marusin, Larissa Diadkova; conducted by Yuri Temirkanov)
Verdi's Nabucco
The grand Biblical opera, based on the story of Nebuchadnezzar, that first launched Verdi to fame.
St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi, Bruno Ribiero, Elisabeth Kulman, Simon Yang; conducted by Ernst Märzendorfer) (click CC for subtitles)
Rossini's La Cenerentola (Cinderella)
The world's most famous fairy tale reimagined as a "realistic" comedy of manners with sparkling bel canto music.
Studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo, Claudio Desderi, Paul Plishka; conducted by Claudio Abbado)
#opera#top 40#part 2#11 through 20#complete performances#english subtitles#die fledermaus#cosi fan tutte#aida#hänsel und gretel#l'elisir d'amore#the elixir of love#turandot#die lustige witwe#the merry widow#eugene onegin#nabucco#la cenerentola
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“despina is a feminist” no. look into my eyes. despina would not be a feminist. she would tell you she’s only a feminist when it applies to herself. despina would be a libertarian. despina would complain about having to wear bras and then she would turn around and have a tiktok account where she jokes about women she deems ugly (by filming them just minding their business out in public without their consent). do you understand my vision boy
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I so love the random cheap stuff I find at Half Price Books. This was the one Mozart/Da Ponte I didn't own in full orchestral score.
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me when theyre playing mozart ensembles too slow
#trying out new recordings of my beloved operas always ends with me spitting venom at conductors#lets be clear about this. the only ensembles that you can go slow in and in fact i will kill you if you go too fast#are protegga il giusto cielo in don giovanni and di scrivermi ogni giorno and soave sia il vento in cosi#and the contessa perdono moment in figaro#also if you rush ach ich fühl's or porgi amor or deh vieni non tardar im going to strangle you in your sleep#but aside from these. it's generally always better to go too fast than too slow.#it needs to FLOW. the energy needs to BUZZ. you're doing something wrong if i can literally hear the singers struggling to stay in tempo#it's not natural.#also the two-part arias like batti batti or dove sono or non mi dir - the second part MUST be faster ok???!!??!!! it MUST be faster.#otherwise it makes no sense. this is a prototype of the romantic cavatina-cabaletta combo and that's how you need to treat it#or i swear to god i will kill either you or myself or both#ok. end of rant. im normal again.#opera tag#mozart#wolfgang amadeus mozart#le nozze di figaro#cosi fan tutte#don giovanni#die zauberflöte#la clemenza di tito
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