Così fan tutte Tickets

Prague National Theatre, Prague, Czech Republic

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Available Dates: 15 Feb, 2025 (1 events)

Important Info

Type: Opera

City: Prague, Czech Republic

Duration: 3h 20min with 1 interval

Acts: 2

Intervals: 1

Sung in: Italian

Titles in: Czech, English

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Wolfgang Amadeus Mozart

Dramaturge: Beno Blachut

Sets & costumes designer: Ingrid Erb

Librettist: Lorenzo Da Ponte

Director: Tatjana Gürbaca

Overview

Set to a seemingly trivial story, Mozart created one of his most refined works, boasting wonderful melodies and colourful orchestration, as well as splendid characterisation of the personages and situations.

Mozart’s Così fan tutte, ossia La scuola degli amanti (All Women Do It, or The School for Lovers) is the last of the three operas that were the fruit of the composer’s collaboration with the librettist Lorenzo Da Ponte. Following Don Giovanni and Le nozze di Figaro, the two artists opted for a more intimate story, focusing on the relationships between its four protagonists, two engaged couples. Da Ponte drew inspiration for the timeless and bitter comedy about female (and, ultimately, male too) fidelity in Ovid’s Metamorphoses, Ariosto’s Orlando furioso and Cimarosa’s buffa L’impresario in angustie. Set to a seemingly trivial story, Mozart created one of his most refined works, boasting wonderful melodies and colourful orchestration, as well as splendid characterisation of the personages and situations. Così fan tutte premiered on 26 January 1790 at the Burgtheater in Vienna, with the composer conducting. The new opera came to Prague the following year, and the local audiences could see two productions – the first, as a singspiel and in German translation, was performed at the Vaterländisches Theater (in the former “Hibernia” monastery), the second, in its original form, at the Nostitz Theatre.

The adaptation of Così fan tutte is by Tatjana Gürbaca, an award-winning German director working for major European opera companies. The music has been undertaken by the German conductor Karsten Januschke, who first appeared at the Estates Theatre in 2021 at the Mozart’s Birthday concert, and also conducted the production of Don Giovanni.

A co-production with the Nationaltheater Mannheim.

History

Premiere of this production: 26 January 1790, Burgtheater, Vienna

Così fan tutte, ossia La scuola degli amanti (All Women Do It, or The School for Lovers), is an Italian-language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.

Synopsis

Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.

Place: Naples
Time: the 18th century

Act 1
Scene 1: A coffeehouse

In a cafe, Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. The scene shifts to the two women, who are praising their men (duet: "Ah guarda sorella"—"Ah look sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and Guglielmo arrive, brokenhearted, and bid farewell (quintet: "Sento, o Dio, che questo piede è restio"—"I feel, oh God, that my foot is reluctant"). As the boat with the men sails off to sea, Alfonso and the sisters wish them safe travel (trio: "Soave sia il vento"—"May the wind be gentle"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: "Oh, poverini, per femmina giocare cento zecchini?"—"Oh, poor little ones, to wager 100 sequins on a woman").

Scene 2: A room in the sisters' home

Despina, the maid, arrives and asks what is wrong. Dorabella bemoans the torment of having been left alone (aria: "Smanie implacabili"—"Torments implacable"). Despina mocks the sisters, advising them to take new lovers while their betrotheds are away (aria: "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you hope for faithfulness?"). After they leave, Alfonso arrives. He fears Despina will recognize the men through their disguises, so he bribes her into helping him to win the bet. The two men then arrive, dressed as mustachioed Albanians (sextet: "Alla bella Despinetta"—"Meet the pretty Despinetta"). The sisters enter and are alarmed by the presence of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). However, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to remain faithful (aria: "Come scoglio"—"Like a rock"). The "Albanians" continue the attempt to win over the sisters' hearts, Guglielmo going so far as to point out all of his manly attributes (aria: "Non siate ritrosi"—"Don't be shy"), but to no avail. Ferrando, left alone and sensing victory, praises his love (aria: "Un'aura amorosa"—"A loving breath").

Scene 3: A garden

The sisters are still pining. Despina has asked Don Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend to pass out. Soon thereafter, a "doctor" (Despina in disguise) arrives on the scene and, using magnet therapy, is able to revive the "Albanians". The men, pretending to hallucinate, demand a kiss from Dorabella and Fiordiligi (whom the "Albanians" call goddesses) who stand before them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to acquiesce.

Act 2
Scene 1: The sisters' bedroom

Despina urges them to succumb to the "Albanians"' overtures (aria: "Una donna a quindici anni"—"A fifteen year old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation will do no harm and will help them pass the time while they wait for their lovers to return (duet: "Prenderò quel brunettino"—"I will take the brunette one").

Scene 2: The garden

Dorabella and the disguised Guglielmo pair off, as do the other two. The conversation is haltingly uncomfortable, and Ferrando departs with Fiordiligi. Now alone, Guglielmo attempts to woo Dorabella. She does not resist strongly, and soon she has given him a medallion (with Ferrando's portrait inside) in exchange for a heart-shaped locket (duet: "Il core vi dono"—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: "Ah, lo veggio"—"Ah, I see it" and Fiordiligi's aria: "Per pietà, ben mio, perdona"—"Please, my beloved, forgive"), so he is enraged when he later finds out from Guglielmo that the medallion with his portrait has been so quickly given away to a new lover. Guglielmo at first sympathises with Ferrando (aria: "Donne mie, la fate a tanti"—"My ladies, you do it to so many"), but then gloats, because his betrothed is faithful.

Scene 3: The sisters' room

Dorabella admits her indiscretion to Fiordiligi ("È amore un ladroncello"—"Love is a little thief"). Fiordiligi, upset by this development, decides to go to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi finally succumbs and falls into his arms (duet: "Fra gli amplessi"—"In the embraces"). Guglielmo is distraught while Ferrando turns Guglielmo's earlier gloating back on him. Alfonso, winner of the wager, tells the men to forgive their fiancées. After all: "Così fan tutte"—"All women are like that".

Scene 4:

The scene begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a notary, presents the marriage contract, which all sign. Directly thereafter, military music is heard in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their way to the house. The "Albanians" hurry off to hide (actually, to change out of their disguises). They return as the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they become enraged. They then depart and return moments later, half in Albanian disguise, half as officers. Despina has been revealed to be the notary, and the sisters realize they have been duped. All is ultimately forgiven, as the entire group praises the ability to accept life's unavoidable good times and bad times.

Venue Info

Prague National Theatre - Prague
Národní 2

The National Theatre is the prime stage of the Czech Republic. It is also one of the symbols of national identity and a part of the European cultural space, with a tradition spanning more than 130 years. It is the bearer of the national cultural heritage, as well as a space for free artistic creation.

The National Theatre (Czech: Národní divadlo) in Prague is known as the alma mater of Czech opera, and as the national monument of Czech history and art.

The National Theatre belongs to the most important Czech cultural institutions, with a rich artistic tradition, which helped to preserve and develop the most important features of the nation–the Czech language and a sense for a Czech musical and dramatic way of thinking.

Today, the National Theatre is made up of four artistic companies – the Opera, Drama, Ballet and Laterna magika. It artistically manages four stages – the three historical buildings: the National Theatre (1883), the State Opera (1888), and the Estates Theatre (1783), and the more recently opened New Stage (1983). The Opera, Drama and Ballet companies perform not only titles from the ample classical legacy, in addition to Czech works, they also focus on contemporary international creation.

Grand opening

The National Theatre was opened for the first time on 11 June 1881, to honour the visit of Crown Prince Rudolf of Austria. Bedřich Smetana's opera Libuše was given its world premiere, conducted by Adolf Čech. Another 11 performances were presented after that. Then the theatre was closed down to enable the completion of the finishing touches. While this work was under way a fire broke out on 12 August 1881, which destroyed the copper dome, the auditorium, and the stage of the theatre.

The fire was seen as a national catastrophe and was met with a mighty wave of determination to take up a new collection: Within 47 days a million guldens were collected. This national enthusiasm, however, did not correspond to the behind-the-scenes battles that flared up following the catastrophe. Architect Josef Zítek was no longer in the running, and his pupil architect Josef Schulz was summoned to work on the reconstruction. He was the one to assert the expansion of the edifice to include the block of flats belonging to Dr. Polák that was situated behind the building of the Provisional Theatre. He made this building a part of the National Theatre and simultaneously changed somewhat the area of the auditorium to improve visibility. He did, however, take into account with utmost sensitivity the style of Zítek's design, and so he managed to merge three buildings by various architects to form an absolute unity of style.