This title is currently unavailable.
Works on This Recording
Cosě fan tutte, K 588 by Wolfgang Amadeus Mozart
Sherrill Milnes (Baritone),
Leontyne Price (Soprano),
Judith Raskin (Soprano),
Tatiana Troyanos (Mezzo Soprano),
Ezio Flagello (Bass),
George Shirley (Tenor)
New Philharmonia Orchestra
Written: 1790; Vienna, Austria
Average Customer Review: ( 1 Customer Review )
The glorious Cosi fan tutte April 19, 2012
By Stephen Schoeman (Westfield, NJ) See All My Reviews
" I listen spell bound to Mozart's Cosi fan tutte. How could any human being compose such glorious music? So many magnificent areas. Such great choral and orchestra writing.
And the opera unlike so many operas ends happily.
What is astounding is that every note, every measure is different. You never know what will follow. All is unique. This cannot be said about much of Verdi's works or about much of
Wagner's works. And likewise that of most other composers with perhaps the exception of Rossini who has been called "the Italian Mozart.
You know a Verdi opera or a Wagner opera or a Richard Strauss opera and most certainly a Puccini opera when you hear it. You can well anticipate the next notes and measures. Not all the time but most of the time. But not with Mozart.
There is besides a complexity to his music not found in nearly all other composers. This is most exemplified in Cosi fan tutte. There are layers upon layers of richness. Wonderful
And such surprises. This aria followed by an extraordinary orchestra coda. That aria accompanied by a most excellent clarinet or horn solo.
Cosi fan tutte is as fresh as a Spring daisy. It jumps out at you. You cannot help but
move quickly along with it. Nothing stale or tired in Mozart as if there ever was!
Why are Carmen and La Boheme and Madam Butterfly and La Traviata and The Magic Flute so much at the center of performances in opera houses large and small?
Why is Cosi fan tutte so relatively infrequently performed? True, it has very demanding arias. Perhaps its theme is politically incorrect nowadays. Perhaps some feel it a trifle of a story not of subject merit for the likes of Mozart. Perhaps in our cynical age people want operas which are tragic and then some. How uncomfortable some may feel that here is a happy opera with a happy ending. Nothing dour. Nothing tragic.
Cosi fan tutte should be standard fare.
Anyone who enjoys Mozart's music should purchase a recording of Cosi fan tutte if he or she does not have one.
Anyone who wants proof that the human mind can create beauty and elegance, something to remember given all the evil in this world, should also purchase a recording of Cosi fan tutte.
Cosi fan tutte should be in the opera pantheon and not in a shed down the hill!
Stephen Schoeman, Ph. D.