Name: Mozart: Così fan tutte, K588
Price: 29 USD
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No lover of radical productions myself, I found it fascinating. You will, too, provided you forget that Cosi is an opera buffa: this is serious stuff...Within the limits of Haneke's very particular... — Gramophone Magazine, April 2014 More…

Release Date: 4th Nov 2013
Catalogue No: 714604
Label: C Major

Mozart: Così fan tutte, K588

Recorded at the Teatro Real de Madrid, 2013
Anett Fritsch (Fiordiligi), Paola Gardina (Dorabella), Kerstin Avemo (Despina), Juan Francisco Gatell (Ferrando), Andreas Wolf (Guglielmo), William Shimell (Don Alfonso)
Chorus and Orchestra of the Teatro Real de Madrid
Sylvain Cambreling

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Staged by 2013 Oscar winner Michael Haneke. Michael Haneke´s film “Amour” won an Oscar for best foreign-language film, the film too won 4 Césars, Palme d´Or (Cannes) and a Golden Globe.

Great reviews about the staging, the performance and the singers.

Bonus: An excellent interview with Michael Haneke about Cosi fan tutte.

Subtitles: I, E, G, F, Sp, Kor, NL. Bonus G, E, F

Sound Format Blu Ray: PCM Stereo, dts-HD MA 5.1

Picture Blu-ray: 1080i 16:9

Reviews

April 2014

No lover of radical productions myself, I found it fascinating. You will, too, provided you forget that Cosi is an opera buffa: this is serious stuff...Within the limits of Haneke's very particular view of the opera, the acting is perfect...The plam for singing goes to Anett Frisch but the rest of the cast, dominated by William Shimell's puppet-master, are not far behind.

April 2014

Everyone in the cast collaborates well musically and dramatically, and they can handle the physicality asked of them onstage...Shimell's Don Alfonso is unnervingly suave, seductive, even Mephistophelian at times.

23rd January 2014

[Shimell performs] the role well, singing strongly with good vocal inflection. The same could be said of all the young quartet of lovers with Anett Frisch as Fiordiligi being particularly notable in Come scoglio...the production involve[s] more sex and violence than humour.

April 2014

The staging grips because of Haneke’s meticulous attention to text and relationship. Every word works for a living, and every note too. Fritsch’s sensitively weighted ‘Per pietà’, built phrase by phrase to its piercing conclusion, stands out as it should— though for once Guglielmo’s seduction of Dorabella in ‘Il core vi dono’ proves even more moving, Wolf and Gardina exchanging musical compliments with respectful delicacy as sex gradually overpowers good sense.

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