
Two loving couples on the verge of marriage: Fiordiligi and Guglielmo, Dorabella and Ferrando. So far, so clear. But Mozart already hints that it won't be quite so simple in the 'crossed' vocal lines of the characters. He pairs soprano with baritone, mezzo-soprano with tenor, suggesting that perhaps something is together that doesn't belong together. Then, a test arrangement by the philosopher Don Alfonso is enough to shake the fragile balance of the couples. In league with Guglielmo and Ferrando, he arranges a partner exchange. The women are told that their future husbands must go to war. Shortly after, the two return in disguise, pretend to be strangers, and try to win the other's fiancée for themselves... Wolfgang Amadeus Mozart's opera, premiered in 1790 and based on a libretto by Lorenzo da Ponte, virtuously misleads the audience and the characters. Is it really possible that the women do not recognize their disguised men? Who truly belongs to whom? When does a couple really 'fit' together? And is a staged partner exchange really the right method to answer all these questions? Influenced by the conflict between baroque affect control, the sensibility of the Rococo, and the rationalism of the Enlightenment, Mozart's and Da Ponte's masterpiece raises questions that we also face today in an era of sexual freedom and supposedly unlimited possibilities. Many seem to have lost faith in the one true encounter, but the deep longing for enchantment and fulfilled partnership remains unbroken.
Stadttheater Klagenfurt
Theaterplatz 4
Source: Eventim
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