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MOZART Così FAN TUTTE Wolfgang Sawallisch

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MOZART Così FAN TUTTE Wolfgang Sawallisch MOZART COSì FAN TUTTE Price · Fassbaender ∙ Grist Schreier · Brendel · Adam Wolfgang Sawallisch Bayerische Live Staatsoper ORFEO D' OR Live Recording 25. Februar 1978 BAYERISCHE STAATSOPER LIVE Unser Opernerbe ist nirgendwo in einer to theatrical spirit. Here are live perfor- so herausragenden Bühnentradition auf- mances captured in the heat of the pro- geführt worden wie an der Bayerischen methean forge – warts and all! Staatsoper München. Die Edition BAYE- Every Opera production is a prototype – RISCHE STAATSOPER LIVE liefert uns nicht an individual bespoke act of creative in- nur wertvolle historische Dokumente, son- terpretation resulting in that live experien- dern auch ein Gegenargument zu der ce we share. Here are some of those mo- Behauptung, Aufnahmen stellten für den ments preserved in aspic and re-ignit-ed Geist des Theaters eine Bedrohung dar. into life by the flame of technology. Let us Hier haben wir Aufführungen live, direkt aus treasure them and look forward to more der Glut der prometheischen Schmiede, riches that are promised from the past of mitsamt ihren kleinen Unebenheiten und our distinguished company! Schwächen! Jede Operninszenierung ist eine Art Pro- Jamais les opéras de notre patrimoine totyp: ein individueller Akt kreativer Inter- n’ont trouvé une aussi éminente tradition pretation, dessen Ergebnis wir gemein- théâtrale qu’à Munich, à la « Bayerische sam live erleben. Einige solcher Augen- Staatsoper ». Cette série d’enregistrement blicke finden wir hier wie in Bernstein ein- en direct – BAYERISCHE STAATSOPER LIVE geschlossen und durch die Technik wie- – ne constitue pas seulement un docu- der zu neuem Leben entfacht. Hüten wir ment historique de valeur, mais s’oppose diesen Schatz, und freuen wir uns auf das, à l’affirmation selon laquelle les enregis- was aus der reichen Vergangenheit un- trements menaceraient l’esprit théâtral. seres berühmten Opernhauses noch her- Ne voilà pas le théâtre capturé dans la vorgeholt werden soll! chaleur de la forge promethéenne – im- perfections comprises! IntendanzderBayerischenStaatsoper Toute production lyrique est un prototype – un acte commandé à un individu d’une Nowhere has our Operatic heritage be- interprétation créative convergent en en expressed through such a distinguished une expérience partagée sur une scène. performance tradition as at the Baye- Voici donc certains de ces moments pré- rische Staatsoper in Munich. This series of servés et rendus à la vie par l’éclat de la live recordings – BAYERISCHE STAATSOPER technologie. Gardons-les précieusement, LIVE – is not only valuable historical docu- dans l’attente des nouvelles richesses que mentation but is also the neutralizer of the nous promet le passé de notre éminent argument against recordings as a threat ensemble! Bayerische Staatsoper 25. Februar 1978 Neuinszenierung COSÌ FAN TUTTE ossia LA SCUOLA DEGLI AMANTI Dramma giocoso in due atti di Lorenzo Da Ponte Musica di WOLFGANG AMADEUS MOZART Fiordiligi. Margaret Price Dorabella ��������������������������������������������������������������������������������������������������������� Brigitte Fassbaender Guglielmo . Wolfgang Brendel Ferrando . Peter Schreier Despina ��������������������������������������������������������������������������������������������������������������������������������������������������� Reri Grist Don Alfonso . Theo Adam Chor der Bayerischen Staatsoper Bayerisches Staatsorchester WOLFGANG SAWALLISCH CD 1 79’58 1 Overtura 4’29 Atto primo 2 LamiaDorabella 1’51 Ferrando · Guglielmo · Don Alfonso 3 Fuorlaspada 1’06 Guglielmo · Don Alfonso · Ferrando 4 Èlafededellefemmine 1’08 Don Alfonso · Ferrando · Guglielmo 5 Scioccheriedipoeti 1’20 Ferrando · Guglielmo · Don Alfonso 6 Unabellaserenata 2’18 Ferrando · Don Alfonso · Guglielmo 7 Ah,guarda,sorella 4’26 Fiordiligi · Dorabella 8 Miparchestamattina…Eccoli! 2’25 Fiordiligi · Dorabella · Don Alfonso Vorreidir,ecornonho Don Alfonso Stelle!Percarità,signorAlfonso Fiordiligi · Don Alfonso · Dorabella 9 Sento,ohDìo,chequestopiede 3’07 Guglielmo · Ferrando · Don Alfonso · Fiordiligi Dorabella 10 Lacommediaègraziosa 1’13 Don Alfonso · Ferrando · Fiordiligi · Dorabella Bellavitamilitar! Coro 11 Nov’èpiùtempo,amici 3’06 Don Alfonso · Fiordiligi · Dorabella · Ferrando Discrivermiognigiorno Fiordiligi · Dorabella · Guglielmo · Ferrando Don Alfonso Bellavitamilitar! Coro 12 Doveson? 0’56 Dorabella · Don Alfonso · Fiordiligi 13 Soavesiailvento 2’43 Fiordiligi · Dorabella · Don Alfonso 14 Nonsoncattivocomico! 0’47 Don Alfonso 15 Chevitamaledetta 0’59 Despina 16 Madame,eccolavostracolazione 1’23 Despina · Fiordiligi · Dorabella Ah,scostati Dorabella 17 Smanieimplacabili 1’56 Dorabella 18 SignoraDorabella 2’11 Despina · Dorabella · Fiordiligi 19 Inuomini,insoldati 2’49 Despina 20 Chesilenzio 2’17 Don Alfonso · Despina 21 AllabellaDespinetta 4’21 Don Alfonso · Ferrando · Guglielmo Despina · Fiordiligi · Dorabella 22 Cosaavete?–Cheènato? 2’15 Don Alfonso · Dorabella · Fiordiligi · Ferrando Guglielmo · Despina 23 Temerari!Sortitefuoridaquestoloco! 1’19 Fiordiligi 24 Comescoglioimmotoresta 4’25 Fiordiligi 25 Ah,nonpartite! 0’38 Ferrando · Guglielmo · Don Alfonso Dorabella · Fiordiligi 26 Nonsiateritrosi 1’30 Guglielmo 27 Evoiridete 0’52 Don Alfonso · Ferrando · Guglielmo 28 Eaveteancoracoraggio 0’42 Guglielmo · Don Alfonso · Ferrando 29 Un’auraamorosa 5’29 Ferrando 30 Ah,chetuttainunmomento 2’11 Fiordiligi · Dorabella 31 Simora,sì,simora 5’11 Ferrando · Guglielmo · Don Alfonso · Fiordiligi Dorabella · Despina 32 Eccoviilmedico 2’49 Don Alfonso · Ferrando · Guglielmo · Despina Fiordiligi · Dorabella 33 Doveson? 2’22 Tutti 34 Dammiunbacio,omiotesoro 3’06 Ferrando · Guglielmo · Fiordiligi · Dorabella Despina · Don Alfonso CD 2 69’15 Atto secondo 1 Andatelà 2’21 Despina · Fiordiligi · Dorabella 2 Unadonnaaquindicianni 2’47 Despina 3 Sorella,cosadici? 1’23 Fiordiligi · Dorabella 4 Prenderòquelbrunettino 3’15 Dorabella · Fiordiligi 5 Secondate,auretteamiche 2’48 Ferrando · Guglielmo · Coro 6 Cos‘ètalmascherata? 0’48 Fiordiligi · Dorabella · Despina · Ferrando Guglielmo · Don Alfonso 7 Lamanoamedate 2’48 Don Alfonso · Ferrando · Guglielmo · Despina 8 Ohchebellagiornata! 2’49 Fiordiligi · Ferrando · Dorabella · Guglielmo 9 Ilcorvidono 4’21 Guglielmo · Dorabella 10 Barbara!Perchéfuggi? 1’22 Ferrando · Fiordiligi 11 Eiparte...senti...ahno! 1’56 Fiordiligi 12 Perpietà,benmio,perdona 7’51 Fiordiligi 13 Amico,abbiamovinto! 3’01 Ferrando · Guglielmo 14 Donnemie,lafateatanti 3’01 Guglielmo 15 Cometuttocongiura 1’37 Fiordiligi · Despina · Guglielmo · Don Alfonso L’abitodiFerrando Fiordiligi 16 Fragliamplessiinpochiistanti 5’25 Fiordiligi · Ferrando 17 Ahpoverettome–Vittoria,padroncini! 2’03 Guglielmo · Don Alfonso · Ferrando · Despina 18 Tuttiaccusanledonne 0’57 Don Alfonso 19 Fatepresto,ocariamici 1’49 Despina · Coro · Don Alfonso 20 Benedettiidoppiconiugi 1’57 Coro · Fiordiligi · Dorabella · Ferrando · Guglielmo 21 Eneltuo,nelmiobicchiero 1’57 Fiordiligi · Dorabella · Ferrando · Guglielm 22 Mieisignori,tuttoèfatto 1’25 Don Alfonso · Fiordiligi · Dorabella · Ferrando Guglielmo · Despina 23 Bellavitamilitar 1’42 Coro · Fiordiligi · Dorabella · Despina · Ferrando Guglielmo · Don Alfonso 24 Saniesalvi,agliamplessiamorosi 4’37 Ferrando · Guglielmo · Don Alfonso · Fiordiligi Dorabella 25 Avois’inchinabelladamina 3’02 Ferrando · Guglielmo · Fiordiligi · Dorabella Don Alfonso · Despina 26 Fortunatol’uomcheprendeognicosa 1’57 pelbuonverso Tutti Così fan tutte – Das traurige Glück Von allen Mozart-Opern hatte es die stattet und damit attraktiv gemacht OperabuffaCosìfantutte seit der durch einen alten Zyniker. Der allei- ersten Aufführung am 26. Januar nige Zweck dieser Versuchsanord- 1790 im „kaiserl. königl. Nazional- nung ist, den Frauen angeblich an- Hoftheater in Wien” am schwersten geborenes untreues Verhalten ziel- in der Folgezeit dauerhaft und nach- gerecht nachzuweisen. Im Verlauf haltig Verständnis und Akzeptanz zu des anfänglich noch spielerisch finden. Das Gemeinschaftsprodukt aufgenommenen Experiments wer- des Komponisten Wolfgang Ama- den die Gefühle der Beteiligten im- deus Mozart und seines Textdich- mer trügerischer und der Selbstbe- ters Lorenzo Da Ponte, ein Lehrstück trug immer unauflösbarer. Es kommt mit dem Untertitel „La scola degli zu einem Punkt, wo sich echte und amanti. So machen sie’s, oder: die falsche Gefühle nicht mehr vonei- Schule der Liebhaber. Ein komisches nander unterscheiden, wo wahre Singspiel in zwey Aufzügen”, war ein Liebe und manipulierte Liebe, Ernst volles Jahrhundert lang durchwegs und Spiel ineinander übergehen. mindestens auf Unbehagen, meist Schließlich ziehen alle sechs Betei- jedoch auf Unverständnis und gar ligten, die vier Opfer, der Drahtzie- Ablehnung gestoßen, wurde miss- her und dessen Gehilfin, ein schein- deutet und als Konsequenz daraus fröhliches Fazit, bei dem allen Betei- umgedeutet und verstümmelt. Die ligten das Lachen im Halse stecken Absicht hinter den vielen Umarbei- bleibt. In der Musik machen sich im tungen (an den Theatern des 19. zweiten Akt immer häufiger melan- Jahrhunderts 20 Bearbeitungen mit cholische Töne bemerkbar (Fiordili- über 30 verschiedenen Titeln) war gis „Per pietà, ben mio” etwa mit vie- klar: Man wollte Cosìfantutte Mo- len ungewöhnlich tiefen Tönen und zarts „göttlicher Musik” wegen für großen Stimmsprüngen), harte Ak- das Theater retten. korde bremsen das mögliche Happy End und viele Pausen mischen sich in Darum geht es: Zwei Liebespaare das Finale. Das ist alles andere als ein gehen als willige Testobjekte über- beschwingter Kehraus-Jubel.
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