| Mozart, Wolfgang Amadeus (1756-1791) | Così fan tutte (new production) | Libretto von Lorenzo Da Ponte |
| Thomas Hengelbrock | Musikalische Leitung | |
| Dmitri Tcherniakov | Regie, Bühnenbild | |
| Elena Zaytseva | Kostüme | |
| Gleb Filshtinsky | Licht | |
| Balthasar-Neumann-Ensemble | ||
| Balthasar Neumann Singers' Academy | ||
| Agneta Eichenholz | Sopran | Fiordiligi |
| Claudia Mahnke | Mezzosopran | Dorabella |
| Rainer Trost | Tenor | Ferrando |
| Georg Nigl | Bariton | Don Alfonso |
| Russell Braun | Bariton | Guglielmo |
| Nicole Chevalier | Sopran | Despina |
A fancy villa in the forest or perhaps a chalet in the mountains. Two couples of colleagues in their fifties are on holiday with two of their friends. They discuss love with the confidence of maturity: banal scenes from a marriage. But to turn their words into deeds, the two friends suggest that the couples try a special kind of experiment: a role-playing game that is supposed to lead them to a better understanding of themselves. The idyllic setting closes like a trap; what they discover will change them forever. Così fan tutte – the story of an ambiguous initiation alternating wisdom and cruelty – is an obvious next project for Dmitri Tcherniakov in the wake of his Carmen (2017). After The Marriage of Figaro (2021), Thomas Hengelbrock is back with the Balthasar Neumann Orchestra and a cast ideally suited to the project. The Festival d'Aix-en-Provence was born with Così fan tutte in 1948; what work could be more appropriate to celebrate its 75th anniversary?