COSI FAN TUTTE

"Human nature and the necessity of the heart"

(Neue Zürcher Zeitung)

Following "Don Giovanni" with the sensational Simon Keenlyside and "Le nozze di Figaro" with shooting star Erwin Schrott, Clasart Classic has recorded the last – and culminating – part of the Mozart / Da Ponte trilogy. Rolf Glittenberg's Palladian-style stage sets are magical, Marianne Glittenberg's simple Rococo costumes are exquisite and a delight to behold. Both press and audience frenetically applauded this year's festival premiere at the Opernhaus Zürich.

Director Sven-Eric Bechtolf situates the action at the time of origin of the opera: in 1790, one year after the beginning of the French Revolution, at the height of the Enlightenment. His interest is focused on the issue of our disposition toward "love" and of our disposition as human beings. The aesthetic quality of the images is never an end in itself, but serves to support the action and interpret the characters in their interaction, their feelings and their entanglements, with love, humor and sparkling imaginativeness.

Bechtolf has at his disposal an exquisite vocal ensemble which not only fuses together in its ensemble playing, but also ensures that each role is shaped from one and the same musical spirit. Marlin Hartelius is a masterful Fiordiligi, both exciting and moving. She contrasts effectively with the luminous mezzosoprano of Anna Bonitatibus' Dorabella. As Ferrando, Javier Camarena casts his tenor spell with a lyrical yet expansive voice. Ruben Drole's full-bodied, supple baritone is fully on a par with him. Martina Jankovà and Oliver Widmer harmoniously round off this lively sextet, every member of which can boast a superior stage presence.

Franz Welser-Möst's conducting sets standards: relaxed and flexible, constantly alert, with a sensitive ear for the singer's individual voices.