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Chan 3152(3) 160 161 CHAN 3152(3) 60 6 CHAN 3152(3) Booklet.indd 160-161 2/3/08 14:29:36 Wolfgang Amadeus Mozart (756 –79) Così fan tutte or The School for Lovers © Lebrecht Music & Arts Library Photo Music © Lebrecht Opera buffa in two acts Libretto by Lorenzo da Ponte, English version by Marmaduke Browne, adapted by John Cox Fiordiligi ladies from Ferrara, Janice Watson soprano Dorabella } sisters, living in Naples Diana Montague mezzo-soprano Guglielmo, an officer, Fiordiligi’s lover Christopher Maltman baritone Ferrando, an officer, Dorabella’s lover Toby Spence tenor Despina, maidservant to Fiordiligi and Dorabella Lesley Garrett soprano Don Alfonso, an old philosopher Sir Thomas Allen baritone Geoffrey Mitchell Choir Orchestra of the Age of Enlightenment Gareth Hancock assistant conductor Sir Charles Mackerras Wolfgang Amadeus Mozart CHAN 3152(3) Booklet.indd 2-3 2/3/08 14:28:24 COMPACT DISC ONE Time Page Time Page 1 Overture :05 [p. 96] 14 No 8, Chorus: ‘Oh, the soldier’s life for me! :0 [p.0] Act I Chorus 2 No , Trio: ‘Suspect Dorabella?’ :5 [p. 96] 15 Recitative: ‘My friends, the time is flying’ 0: [p.0] 3 Recitative: ‘Swords or pistols?’ 0:50 [p. 96] Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo Ferrando, Guglielmo, Don Alfonso 16 No 9, Quintet: ‘You’ll write long letters often’ 2:2 [p.0] 4 No 2, Trio: ‘Woman’s faith is like the phoenix’ :09 [p. 97] Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso, Chorus Don Alfonso, Ferrando, Guglielmo 17 Recitative: ‘Are they gone?’ 0:5 [p.05] 5 Dorabella, Don Alfonso, Fiordiligi Recitative: ‘A poetical fiction!’ :9 [p. 97] 18 6 No , Trio: ‘I shall hire a band of players’ 2:2 [p. 99] No 0 Trio: ‘O wind gently blowing’ 2: [p.05] Ferrando, Guglielmo, Don Alfonso Fiordiligi, Dorabella, Don Alfonso 19 7 No , Duet: ‘This portrait alone is the face of Adonis’ :8 [p. 99] Recitative: ‘So far all’s going splendidly!’ :05 [p.06] Don Alfonso 8 Recitative: ‘I can’t think what’s the matter’ 0: [p.00] Fiordiligi, Dorabella 20 Recitative: ‘A hell of an existence’ 0:58 [p.06] Despina 9 Recitative: ‘Here they are’ 0:22 [p.00] Fiordiligi, Dorabella, Don Alfonso 21 ‘My ladies, here is your chocolate and biscuits’ :2 [p.06] Despina, Fiordiligi, Dorabella 10 No 5, Aria: ‘Let me try. My courage fails’ 0:8 [p.0] Don Alfonso 22 No , Aria: ‘Cease not, remorseless love’ :6 [p.07] Dorabella 11 Recitative: ‘Tell us, for pity’s sake’ :00 [p.0] Fiordiligi, Don Alfonso, Dorabella 23 Recitative: ‘Signora Dorabella, Signora Fiordiligi’ :6 [p.07] Despina, Dorabella, Fiordiligi 12 No 6, Quintet: ‘Courage fails me! For no evasion’ :07 [p.02] Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella 24 No 2, Aria: ‘In lovers and in soldiers’ 2:6 [p.09] Despina 13 Recitative: ‘It’s a comedy, charming!’ 0: [p.0] Don Alfonso, Ferrando, Fiordiligi, Dorabella 25 Recitative: ‘What a silence!’ 2:2 [p.09] Don Alfonso, Despina 5 CHAN 3152(3) Booklet.indd 4-5 2/3/08 14:28:25 Time Page Time Page 26 3 No , Sextet: ‘I’ve the honour to present you’ :8 [p.] ‘Now, ladies, calm yourselves’ 8:50 [p20] Barda © Clive Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella 27 Recitative: ‘What an outcry!’ :8 [p.2] Don Alfonso, Dorabella, Fiordiligi, Ferrando, Guglielmo Act II 28 No , Aria: ‘Like a fortress in ocean founded’ :28 [p.] 4 Recitative: ‘Well, I decare, you are a funny pair of young ladies’ 2:26 [p.2] Fiordiligi Despina, Fiordiligi, Dorabella 29 Recitative: ‘Stay, I implore you!’ 0: [p.] 5 No 9, Aria: ‘At fifteen a girl already must be truly wise’ :28 [p.25] Ferrando, Guglielmo, Don Alfonso, Dorabella, Fiordiligi Despina 30 No 5, Aria: ‘O vision so charming’ :2 [p.5] 6 Recitative: ‘Well, sister! What do you think?’ : [p.26] Guglielmo Fiordiligi, Dorabella 31 No 6, Trio: ‘You seem delighted!’ 0:5 [p.5] 7 No 20, Duet: ‘I prefer the gentle dark one’ 2:5 [p.27] Don Alfonso, Ferrando, Guglielmo Dorabella, Fiordiligi 32 Recitative: ‘When you’ve quite finished laughing’ 0:52 [p.6] 8 Recitative: ‘Come at once to the garden’ 0:22 [p.28] Don Alfonso, Guglielmo, Ferrando Don Alfonso, Dorabella 33 No 7, Aria: ‘Her eye so alluring’ :50 [p.6] 9 No 2, Duet and Chorus: ‘Gentle zephyr, softly sighing’ :0 [p.28] Ferrando Ferrando, Guglielmo, Chorus TT 64:43 10 Recitative: ‘What is this masquerading?’ 0:5 [p.28] Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Don Alfonso COMPACT DISC TWO 11 No 22, Quartet: ‘Now give me your hand’ 2: [p.29] Don Alfonso, Ferrando, Guglielmo, Despina 1 No 8, Finale: ‘Why has fate my life enshrouded’ 2:5 [p.7] 12 Recitative: ‘Isn’t the weather lovely!’ 2: [p.0] Fiordiligi, Dorabella Fiordiligi, Ferrando, Dorabella, Guglielmo 2 ‘To die is all I long for’ :55 [p.7] 13 No 2, Duet: ‘This heart that I give you’ :6 [p.2] Ferrando, Guglielmo, Don Alfonso, Fiordiligi, Dorabella, Despina Guglielmo, Dorabella 6 7 CHAN 3152(3) Booklet.indd 6-7 2/3/08 14:28:26 Time Page Time Page 14 Recitative: ‘Cruel one, would you leave me?’ :0 [p.] 8 No 29, Duet: ‘All too slowly the hours are fleeting’ 5:11�������� [p.0] Ferrando, Fiordiligi Fiordiligi, Ferrando 15 Recitative: ‘He’s leaving. Listen!...’ : [p.] 9 Recitative: ‘That’s enough for me!’ :40�������� [p.] 16 No 25, Rondo: ‘Ah, my love, I pray forgive me’ 7:0 [p.] Guglielmo, Don Alfonso, Ferrando Fiordiligi 10 No 0, Aria: ‘Man accuses the woman’ 0:59�������� [p.2] TT 51:11 Don Alfonso, Ferrando, Guglielmo 11 Recitative: ‘Well, gentlemen, you’ve won them’ 0:44�������� [p.2] Despina, Ferrando, Guglielmo, Don Alfonso COMPACT DISC THREE 12 No , Finale: ‘Come, my friends, no more delaying’ :47�������� [p.] Despina, Chorus, Don Alfonso 1 Recitative: ‘We’ve done it!’ :26 [p.] 13 ‘May the love, that has united then’ :03�������� [p.] Ferrando, Guglielmo Chorus, Ferrando, Guglielmo, Fiordiligi, Dorabella 2 No 26, Aria: ‘Ladies have such variations’ :12�������� [p.6] 14 ‘Happy lovers! Fate conniving’ :29�������� [p.] Guglielmo Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo, Despina, Chorus 3 Recitative: ‘Ah! My brain is distracted!’ :29�������� [p.7] 15 ‘Joy once more now our sorrow replaces’ 8:11�������� [p.6] 4 No 27, Cavatina: ‘Her treason is poison’ 2:02�������� [p.7] Ferrando, Guglielmo, Don Alfonso, Fiordiligi, Dorabella, Despina Ferrando 16 ‘Happy is the man who calmly takes life strictly as he finds it’ 1:42�������� [p.9] 5 Recitative: ‘Now at last you are acting as a sane woman should’ 1:30�������� [p.7] Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Don Alfonso Despina, Dorabella, Fiordiligi TT 44:40 6 No 28, Aria: ‘Young love is unrelenting’ 2:55�������� [p.8] Dorabella 7 Recitative: ‘All the world is conspiring’ 2:10�������� [p.8] Fiordiligi, Guglielmo, Despina, Don Alfonso 8 9 CHAN 3152(3) Booklet.indd 8-9 2/3/08 14:28:26 On session: Toby Spence On session: Christopher Maltman Ashmore Catherine © CHAN 3152(3) Booklet.indd 10-11 2/3/08 14:28:29 The title Così fan tutte is almost impossible to translate without obscuring the universal experience so lightly but profoundly expressed in Mozart’s depiction of human love and frailty. And who better to reveal all the irony, wit and pathos of Mozart’s mercurial score than Sir Charles Mackerras – a great Mozartian – in harness with the wonderful musicians of the Orchestra of the Age of Enlightenment, and a great cast. Prepare to be seduced! Sir Peter Moores, CBE, DL April 2008 Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 2 CHAN 3152(3) Booklet.indd 12-13 2/3/08 14:28:31 famously starting with Beethoven, considered epic, Ariosto’s Orlando furioso. From it da ‘all the girls act like this’ the libretto both immoral and trivial and it was Ponte drew names of characters and dramatic inevitably bowdlerised, or changed wholesale, themes and – in a kind of spot-the-quote game Cosi fan tutte – ‘all women act like this’ – was Burgtheater on January 26, 790 and was for performance. Mozart was considered to that many of his more sophisticated Viennese conceived at relative leisure (but composed in (despite frequent comments to the contrary) have committed a grievous error of judgement spectators would have enjoyed playing – a hurry) during 789 to an existing libretto by a fair success. The premiere was the most in setting such a subject to his ‘divine’ music. borrowings or adaptations of whole images and the Abbé Lorenzo da Ponte, the Vienna court heavily attended opera performance of the The tide turned from 897 onwards when a phrases. He freely plundered his own libretti opera’s official poet and Mozart’s collaborator 789/90 season and the diary comments and sequence of major conductors (and composers) Il finto cieco and Una cosa rara. He was also on on The Marriage of Figaro and Don Giovanni. reviews that survive were favourable. The work returned to what Mozart and da Ponte actually well-trodden dramatic ground with the central The cast was hand-picked by its creators. The was given four more times before the death wrote – Richard Strauss in a version prepared theme of lovers testing each others’ fidelity librettist’s current mistress (and as a cleric a few weeks later of the Emperor, Mozart’s by Hermann Levi (Wagner’s first Parsifal by the use of disguise; examples went back in forbidden to marry, da Ponte had many) inconsistent patron Joseph II.
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