COSI FAN TUTTE, Mozart's final comic opera, is performed here by the Zurich Opera House with Cecilia Bartoli assuming the main soprano role as Fiordiligi. Nikolaus Harnoncourt conducts the Zurich Opera House Chorus and Orchestra in Jurgen Flimms' production. Read more
| Starring | Cecilia Bartoli, Agnes Baltsa, Liliana Nikiteanu, Zurich Opera House Chorus |
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Brilliantly sung, played, and acted; and you are sure to appreciate the glamour of the young lovers. The sets seemed a bit odd, but they don't matter. I tried to watch it straight through but enjoyed it much more the second time, one Act per session, the content was so rich.
Excellent Production with very good singing, esp the 2 women
Part one is great - though this is hardly surprising as the Opera features the marvelous Cecilia Bartoli. All round good vocals but with a limited stage set. Good for laughs too: quite enjoyable.
Part one is great - though this is hardly surprising as the Opera features the marvelous Cecilia Bartoli. All round good vocals but with a limited stage set. Good for laughs too: quite enjoyable.
This was marvellous with Cecilia Bartoli in great voice. But please may I have the second act!
Brilliantly sung, played, and acted; and you are sure to appreciate the glamour of the young lovers. The sets seemed a bit odd, but they don't matter. I tried to watch it straight through but enjoyed it much more the second time, one Act per session, the content was so rich.
Excellent Production with very good singing, esp the 2 women
Part one is great - though this is hardly surprising as the Opera features the marvelous Cecilia Bartoli. All round good vocals but with a limited stage set. Good for laughs too: quite enjoyable.
This was marvellous with Cecilia Bartoli in great voice. But please may I have the second act!
This is a good example of how not to do Cosi. The tempi were often painfully slow, with every last ounce of feeling being dragged out of the action, when NOT doing this is exactly the point. Mozart is contrasting the light hearted music with the pains of the lovers as a model of how dire events go on every day while the rest of us carry on as before. Perhaps the worst example was the aria Donne mie, where Guglielmo sings of the fickleness of women against the background of what sounds like a dance tune. It was, quite simply, excruciating, just totally wrong in every way. The sets and unnecessary artifices didn't help either. Pity, as the singing was good, but dear oh dear: neither producer nor conductor seemed to understand what Mozart was saying.