| Mozart, Wolfgang Amadeus (1756-1791) | Così fan tutte (Sung in English) | Libreto de Lorenzo Da Ponte |
| Opera North | |||
| Clemens Schuldt | Dirección | ||
| Chloe Rooke | Dirección | ||
| Tim Albery | Dirección de escena | ||
| Tobias Hoheisel | Diseño de escena, Diseño de vestuario | ||
| David Finn | Diseño de iluminación | ||
| Orchestra of Opera North | |||
| Alexandra Lowe | Soprano | Fiordiligi | |
| Heather Lowe | Mezzosoprano | Dorabella | |
| Anthony Gregory | Tenor | Ferrando | 2024 feb 02, 10, 16, 21, 23 |
| Satriya Krisna | Tenor | Ferrando | 2024 feb 14 |
| Henry Neill | Barítono | Guglielmo | |
| Quirijn de Lang | Bajo-barítono | Don Alfonso | |
| Gillene Butterfield | Soprano | Despina |
It starts with a casual bet.
The wily cynic Don Alfonso wagers that the fiancées of two young men, complacent in their romantic notions of love, won’t stay faithful for a minute if put to the test. It sounds harmless enough and, anyway, the lovers are entirely sure of themselves. But there is cruelty in this game of love and chance.
It’s difficult to think of an opera that contains more music of sheer beauty than Così fan tutte – or has a libretto that is more unsettling. The plot is a work of supreme artifice, yet the opera charts the boundaries of real and feigned emotion, trust and deception, loyalty and desire, with unsparing accuracy and truthfulness. Tim Albery’s beautiful, thoughtful, 18th Century styled production is set firmly in a pitiless Age of Reason.