
Two loving couples on the verge of marriage: Fiordiligi and Guglielmo, Dorabella and Ferrando. So far, so clear. But Mozart hints that it might not be so simple, through the 'crossed' vocal parts of the characters. He pairs soprano with baritone, mezzo-soprano with tenor, suggesting that perhaps something here is not as it seems. Then, philosopher Don Alfonso's experiment threatens to upset the fragile balance of the couples. He arranges a partner exchange with Guglielmo and Ferrando, telling the women that their fiancés must go to war. Shortly afterward, the two return in disguise, pretending to be strangers, and try to win the other's fiancée for themselves. Wolfgang Amadeus Mozart's 1790 opera, based on a libretto by Lorenzo da Ponte, masterfully misleads both audience and characters. Is it really possible that the women do not recognize their disguised men? Who truly belongs to whom? When does a couple truly 'fit' together? And is a staged partner exchange really the right method to answer these questions? Influenced by the conflict between baroque emotional restraint, Rococo sensibility, and Enlightenment rationalism, Mozart and Da Ponte's masterpiece raises questions that we still face today in an era of sexual freedom and seemingly 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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