6.8
  • Genre:
  • Production:Teatro Real de Madrid
  • Released:2013-06-21
  • IMDB:tt2973692
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.
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Latest News

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Review: L.A. Opera's silly 'Così fan Tutte' saved by the singing  Los Angeles Times

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UGA Opera Theatre to perform ‘Cosi fan Tutte’  UGA Today

How does Mozart’s ‘Così fan tutte’ end? At this Bay Area opera company, you get to decide  San Francisco Chronicle

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Renée Fleming makes directing debut with wrestling-themed 'Così fan tutte' at Aspen Music Festival  Denver7

Lyric’s Cosi fan tutte Makes Mozart, Opera Fun Again  Third Coast Review

‘Cosi Fan Tutte,’ directed by Michael Haneke, to debut Oscars eve  Los Angeles Times

Così fan Tutte review – beautifully sung hard lessons in the cash-strapped school of love | Opera  The Guardian

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Ola Taistra on Cosi Fan Tutte (5.14c)  Climbing Magazine

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Cosi Fan Tutte, London Coliseum: Mozart’s romantic comedy has been reimagined in a candyfloss-filled ‘50s locale  Time Out Worldwide

Così fan Tutte: Mozart's school for lovers  The Guardian

Oscar-nominated director Michael Haneke directs Mozart opera  Classic FM

Oscar hopeful Haneke's Mozart opera debuts in Madrid  Yahoo News Singapore

Così Fan Tutte review – fun but superficial spin on Mozart  The Guardian

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Così fan Tutte review – Mozart's frothy opera turns nasty | Edinburgh festival 2016  The Guardian

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