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Così fan tutte Ensemble und Chor der Bayerischen Staatsoper

Mozart Così fan tutte

From 13 June TO 21 June 2020
Nationaltheater - München
Program

Mozart : Così fan tutte

3 h 35 Sung in : Italian
Cast
  • Conductor
    Constantin Trinks
  • Director
    Dieter Dorn
  • Performers
    Fiordiligi: Christiane Karg
    Dorabella: Samantha Hankey
    Guglielmo: Andrè Schuen
    Ferrando: Ioan Hotea
    Despina: Tara Erraught
    Don Alfonso: Michael Nagy
Details on the Performance

That's not how they all do it!! "This" Così is a jewel of the Mozart repertoire at the Bayerische Staatsoper! Dieter Dorn's production clearly points up the bitter story of two couples beyond their depth in a hazardous game of partner swapping and partner deception.

offre M&O

Spatenhaus an der Oper

Residenzstraße 12

80333 München

 

This offer includes a ticket in the category chosen with a dinner at the Spatenhaus an der Oper after the performance.

« Dish + Dessert » Drinks not included

Fish, Meat or Vegan plate, thanks to confirm during your booking.

Open daily from 11:30 am to 00:30am

 

The Spatenhaus an der Oper embodies Bavarian cuisine in its most refined form . Beautifully situated right opposite the Bavarian State Opera is celebrated in the traditional Munich Haus at great expense a fine Bavarian cuisine.

  • Venue Info
  • Seating Plan
  • Synopsis

Nationaltheater - München Location Max-Joseph-Platz 2 - 80539 München Allemagne

  • Venue's Capacity: 2100

The Venue's History in few words …

The history of Munich's actual theatre truly only begins at the end of the eighteenth century. Indeed, after over a century of infatuation for Italian opera, which was manifest in the construction of the Théâtre de la Cour (now called the Théâtre Cuvilliês, still active), local inhabitants began to feel the need for a German lyrical art. German repertoire, as Mozart appealed for, active in Munich especially during the premiere of his IDOMENEO, but also, a German theatre, since the Theatre de la Cour was limited to Italian art. The Napoleonic wars and King Maximilien I's sudden passion for the Odéon Theatre in Paris postponed this project.

 

The public thus waited until 1818 to discover its « National Theatre, » a subtle and luxurious synthesis of various styles: loggias in the Italian tradition cohabited with innovations from the French school of architecture. One of the noveltieswas a reservoir of water destined to be used in case of fire, but which nevertheless did not save the buildîng from flames in January 1823 ; the water was frozen! The Opera was reconstructed, financed by a special tax on beer: perhaps an original means but one yielding a particularly high return! After these rather tumultuous beginnings, the National Theatre reopened in 1825 and became the hotbed of German lyrical art. Four of Wagner's operas were premiered there between 1365 and 1870 (TRISTAN UND ISOLDE, Da MEISTERSINGER, DAS RHEINGOLD, and DIE WALKÜRE).

 

Wagner, of course, but also Mozart and Richard Strauss soon became the pillars of the Theatre's repertoire during the first half of the twentieth century, thanks to the talent of conductors such as Bruno Walter, Hans Knappertsbusch, and... Richard Strauss, himself a native of Munich. Strauss saw two of his operas premiered in his home town: FRIEDENSTAG (Peace Day, 1938!), and CAPRICCIO (1942). The libretto of the latter was elaborated with the help of the conductor Clemens Krauss, who was then Director of the Opera. The fact that the building was destroyed during the war did not prevent the company's tradition from being perpetuated.

 

Between 1952 and 1967, the institution was directed by Rudolf Hartmann, a former assistant to Richard Strauss and Clemens Krauss. The former 1818 edifice was reconstructed in 1963, after much hesitation as to whether or not to erect a modern hall. The long reign (1971-1992) of conductor Wolfgang Sawallisch, a distinguished representative of the tradition composed of rigour and commitment, is an example of the perserverance with which the Bayerische Staatsoper comes to terms with the legacy of its brilliant past.

Nationaltheater

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

Così fan tutte

COSI FAN TUTTE: AN INSPIRING, THRILLING WORK
Meaning "all women are like that", Cosi fan tutti is a dramatic and engaging work by the famous composer Wolfgang Amadeus Mozart.

HISTORY
In 18th century Naples, two men aim to test the fidelity of their respective fiancees. They decide to assume disguises and see if they can seduce their fiancees whilst pretending to be other men.

Act 1
Ferrando and Gugliemo are officers in the navy. They praise the fidelity of their respective fiancees. Their friend Don Alfonso wagers that the two women are not so faithful after all. Don Alfonso comes up with a plan to test just how faithful the two women are. Don Alfonso instructs Ferrando and Gigliemo to pretend that they have been called away to fight in a battle. Then, he tells them to return disguised as Albanian men, and to each try and seduce the other's fiancee. Ferrando's fiancee Dorabella and Gugliemo's fiancee Fiordiligi are saddened as their fiances sail off to their pretended battle. The two women, who are also sisters, express their love for Ferrando and Gigliemo. Ferrando and Gigliemo return, disguised as Albanians and make straight for Dorabella and Fiordiligi. The two women do not recognise their fiances, and refuse to succumb to the 'Albanians'' seduction techniques. Still in disguise, Ferrando and Gigliemo pretend to drink poison, saying that they are so distressed at this rejection. Their accomplice, Despina, disguised as a doctor, pretends to revive them. The 'Albanians', reviving, pretend that they think Fiordiligi and Dorabella are divine goddesses who have saved them from death. They ask to kiss the two women, but are once more rejected.

Act 2
Despina convinces Fiordiligi and Dorabella that they ought to give in to the 'Albanians'' flirtatious remarks, and seductive overtures. Eventually, the two women agree. After some resistance, both women fall into the arms of the 'Albanians'. Don Alfonso is delighted to have won the wager. Gugliemo and Ferrando are angry at first, but Don Alfonso persuades them to forgive their fiancees. After all, says Don Alfonso, 'all women are like this': 'Cosi fan tutti'. Dorabella and Fiordiligi agree to marry the 'Albanians', still unaware that these men are in fact their fiances in disguise. Half way through the wedding, the 'Albanians' retire, and remove their disguises. The brides are shocked to find out that the 'Albanians' are really their long lost Neapolitan fiances.

Epilog
Unlike many other operas, Cosi fan tutti has just two acts. The opera ends with the group of lovers agreeing to forgive one another, and singing about how life involves both good and bad times.

MAIN ROLES
Fiordiligi, a Lady of Naples, soprano
Dorabella, Fiordiligi's sister, soprano
Guglielmo, Fiordiligi's fiance and a naval officer, bass
Ferrando, Dorabella's fiance and a naval officer, tenor
Despina, a maid and accomplice to Gugliemo and Ferrando, soprano
Don Alfonso, an old philosopher and friend to Gugliemo and Ferrando, bass

Nationaltheater

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