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Wolfgang A. Mozart Così fan tutte

ossia La scuola degli amanti
Dramma giocoso in two acts, K. 588 by Wolfgang Amadeus Mozart (1756–1791)
Libretto by Lorenzo Da Ponte (1749–1838)

New production
In Italian with German and English surtitles

Duration of the performance: approx. 3,5 hours


  • 30 July 2009, 18:30


  • 03 August 2009, 18:30
  • 07 August 2009, 18:30
  • 11 August 2009, 15:00
  • 15 August 2009, 18:30
  • 17 August 2009, 18:30
  • 21 August 2009, 19:30
  • 23 August 2009, 19:30
  • 26 August 2009, 18:30

Print programme (PDF)


Ádám Fischer, Conductor
Claus Guth, Stage Director
Christian Schmidt, Sets
Anna Sofie Tuma, Costumes
Andri Hardmeier, Dramaturgy
Olaf Winter, Lighting
Alexander Burresch, Kai Ehlers, Video


Miah Persson (July 30, August 3, 7, 11, 15, 21, 23, 26), Malin Hartelius (August 17), Fiordiligi
Isabel Leonard, Dorabella
Topi Lehtipuu (July 30, August 3, 7, 11, 15, 17, 23, 26), Joel Prieto (August 21), Ferrando
Florian Boesch (July 30, August 3, 7, 11, 15), Johann Weisser (August 17, 21, 23, 26), Guglielmo
Patricia Petibon, Despina
Bo Skovhus, Don Alfonso

Bradley Moore, Cembalo
Concert Association of the Vienna State Opera Chorus
Vienna Philharmonic


“Così fan tutte le belle! Non c’è alcuna novità” – “Thus act all the beauties! No news there,” as the line from Le nozze di Figaro, the first work written together by Mozart and Da Ponte, goes. Four years later, this allegation is put to the test: in their third and last collaboration, Così fan tutte, an experiment is designed to reveal the truth about women’s supposed lack of faithfulness. An ambiguous game begins, exposing deeper and deeper layers of feeling. The clear-eyed view of the confusion of human relations opens up an abyss that seems to go far beyond the framework of a Dramma giocoso. This stage work – in some ways Mozart’s most radical – is not so much a “School for Lovers” as a continuous dissection of hearts. In the tension between love and passion, security and selfnegation, faithfulness and betrayal, the couples get lost in emotional chaos. Mozart’s music traces the inner contradictions of his figures without ever betraying them, and suddenly makes us doubt our confident belief that we can separate playfulness from earnestness, dream from reality.

Andri Hardmeier