Mozart Così fan tutte opera to libretto by Lorenzo Da Ponte. Directed 2014 by Felix Breisach at the Theater an der Wien. Stars Mari Eriksmoen (Fiordiligi), Katija Dragojevic (Dorabella), Andrè Schuen (Guglielmo), Mauro Peter (Ferrando), Elisabeth Kulman (Despina), and Markus Werba (Don Alfonso). Nikolaus Harnoncourt conducts the Concentus Musicus Wien and the Arnold Schoenberg Chor (Chorus Master Erwin Ortner). Costume design by Doris Maria Aigner. Directed for TV by Felix Breisach. Sung in Italian. Released 2021, disc has 5.1 dts-HD Master Audio sound. Grade: D
This video was made 6 years ago—a bad sign. There’s no director because this is an upstaged concert production of the opera. The package does credit Felix Breisach for “scenic arrangement.” That means, I think, that everyone asked Breisach from time to time, “Where should I stand for this number?” There is a stage and costume designer credited. This means, I think, that the singers may wear clothes that vaguely suggest something about their character without looking ridiculous, and there may be a few simple props. Is there some rather shameless puffing going on here? Well, maybe not. This is being touted as something really special as part of a definitive presentation by Harnoncourt of concert versions of all three Mozart/De Ponte operas. And this is offered at a premium price! So maybe there are specialist fans and music professionals who would benefit from this.
I’m doubtful. However, it’s a fact that the best live opera presentation I’ve ever seen was a concert version. I guess this means I would rather see a great concert version of “The Fat Lady Sings” than an average staged version of that great work. Maybe I should exclude this as our goal is to focus on the best of the best. But I relent. I’m giving this a D, which means avoid this unless you have a special reason to want it, say, for example, as a specialist fan or music professional who just has to know what Harnoncourt is up to. My judgement about this is echoed by Mark Pullinger. See the August 2021 Gramophone, pages 78-80, where Mark accuses the record companies of dredging up weak stuff just to stay busy during the Time of Covid. Mark says that the 50-minute bonus file showing Harnoncourt in rehearsal is more engaging than the concert performance.
Here’s a clip from C Major:
OR
