Così Fan Tutte

Cosi Fan Tutte

And Haneke arrived in Madrid, to dirigir and "Cosi fan tutte" with 5 Oscar nominations and accompanied by considerable media hype. A, that fails to get used to the stage directors erected in only protagonists of current opera performances, I feared the worst. But there is nothing to fear, It is true what they say, Haneke is a master.

The intensity of emotions are not always synonymous with torture. As well he explained Haneke about suffering that can come to break his films, "It is those who suffer with them who must wonder why, since it is not my intention to suffer ". And so he has addressed and resolved the stage direction of this work, intensely, is taking advantage of the most deeply elaborate work of Mozart. A convulsive Mozart at the time of its composition and this is reflected in the score. Definitely, of the most beautiful he wrote.

But let's start to crumble the ins and outs of this representation. Upon entering we find the pleasant surprise return to the labor program 32 pages replacing the ridiculous pastern which has been distributing lately. Hopefully this is a final gesture.

Hoisting curtain reveals the mystery so ridiculously jealous and kept for months. A large window separates the interior of a baroque palace seventeenth century Italian. Abroad, a Neapolitan balustrade and timeless columns that offer a great depth, revealing the sky and the light to be one of the protagonists in constant motion, moving from a bright day to a night estrelladamente closed. Both effects of unquestionable beauty.
Inside, an elegant simplicity, the only elements are the fireplace and loggia napolitanas, armchairs and modern style, as a counterpoint to this splendor, a refrigerator that is almost a protagonist of the play as it is constantly visited by all the characters.
On stage an interesting symbiosis between the seventeenth century occurs and XX. They interspersed unmixed and very elegantly, characters and costumes for both seasons. A perfect fusion that causes indiscriminate and subtle identification.

Mortier had spent a long time, Cambreling and Haneke himself to selection, through auditions, the most suitable set of singers. The result is a remarkable musical and interpretive balance. All within a certain discretion. Joven highlight the tenor Juan Francisco Gatell. He played gallantly "A loving aura", endowed with a beautiful timbre, although with slightly tremulous, aspires to an important race.
Another outstanding voices was Fiordiligi, played by Anett Fritsch. Subtleties and refinements away but with a powerful tool in the screening, spacious with large capacity. It seemed to be able to sing everything that he had put that night ahead.
It is missing from the singers, not if given his youth, or reverential respect for the demanding teacher absent, a certain burden of dramatic depth in the interpretation of the arias. A work so full of momenta is required to listen more hearing organs.
They have shone sets, most important in this opera arias that. Duos have displayed an extraordinary rapport.

Musical direction by Cambreling must be divided into two parts. always considering that Mozart is not his specialty. The first part was somewhat slow due to lack of verve. something very different was the second part, met with brilliance and energy.
Deliberate dramatic way Cambreling and Haneke marked the musical tempo and, incorporating significant silences, they were better understood as the work progressed. These evaluative Haneke breaks to which we are accustomed in his films, here are accurate when they are the complement to the moments of greater intensity. Allow breathing deeply the scene just witnessed. Recitatives carry all the interpretative weight and become a conductor dramatic element essential, placing the scene accurately.

Haneke's hand movements breathe, the details, nothing is left to their fate. Everything that happens, and what not, It is deliberate. A magnificent direction of actors that allow a scenic view of a perfect distribution.
Without realizing it, a story that seems unlikely, it becomes perfectly credible and that the end is expected enthusiastically, one well known end but which it is expected surprise.

A Così fan tutte to fully enjoy and for a final thought. What would be said of this same production if the teacher was not Haneke scene?.

Teatro Real, Madrid, 26 February 2013
W. Amadé Mozart (1756-1791)
Playful drama en dos actos
Libretto by Lorenzo Da Ponte
New production of Teatro Real. Coproduction with De Munt La Monnaie in Brussels
D. musical: Sylvain Cambreling
D. scene: Michael Haneke
Scenographer: Christoph Kanter
Costume designer: Moidel Bickel
illuminator: Urs Schönebaum
D. choir: Andrés Máspero
Orchestra and Chorus of the Teatro Real holders
Fiordiligi: Anett Fritsch
Dorabella: Paola Gardina
William: Andreas Wolf
Ferrando: Juan Francisco Gatell
Despina: Kerstin Avemo
Don Alfonso: William Shimell
Key: Eugene Michelangelila