Kammerorchester Basel

Concert Introduction Listening at 6:30 p.m. Giovanni Antonini, conductor Julia Lezhneva, Fiordiligi Emőke Baráth, Dorabella Sandrine Piau, Despina Giovanni Sala, Ferrando Tommaso Barea, Guglielmo Konstantin Wolff, Don Alfonso Basel Madrigalists, choir Wolfgang Amadeus Mozart Così fan tutte KV 588 (semi-staged) Happy ending, sure. But what worlds emerge before it is outrageous. Cosi fan tutte? No. Only Mozart. No, it really doesn't work like that anymore. Erotic experiment - sure. Emotional confusion - gladly. Staged by the gentlemen of creation, who cheekily claim: 'cosi fan tutte', 'that's how everyone does it': like all women, their unfaithful fiancés would only wait for the first opportunity. And the men, what do they do? Exactly the same. Degenerate society, you might think, hedonists without morals! All together! If there were not, yes, if there were not: Mozart. He puts on a breathless play, a sophisticated game of appearance and reality, deceptions and intrigues, in which the music takes on a very decisive role: it comments, counteracts, cajoles and hounds, intrigues and insists. This is not high school, no, this is the highest. And that is why the story cannot be abstruse enough: Mozart's music drives it up to a height where tears arise and breath catches. And bliss germinates.


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