THE MET LIVE: COSI FAN TUTTE

1789 | 211 minutes | |
Written by Wolfgang Amadeus Mozart

Saturday March 31, 2018, 12:55pm (Film Center)

SPECIAL EVENT

$24 General Admission, $21 Member,
$12 child age 14 or younger
Doors Open for admissions 30 min. prior to screening
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Written by Wolfgang Amadeus Mozart

A winning cast comes together for Phelim McDermott’s clever vision of Mozart’s comedy about the sexes, set in a carnival-esque, funhouse environment inspired by 1950s Coney Island—complete with bearded ladies, fire eaters, and a Ferris wheel. Manipulating the action are the Don Alfonso of Christopher Maltman and the Despina of Tony Award–winner Kelli O’Hara, with Amanda Majeski, Serena Malfi, Ben Bliss, and Adam Plachetka as the pairs of young lovers who test each other’s faithfulness. David Robertson conducts.

 

Phelim McDermott returns to the Met staging Mozart’s comedy Così fan tutte, led by David Robertson. Set in the 1950s on Coney Island, the cast features Amanda Majeski as the conflicted Fiordiligi; Serena Malfi as her sister, Dorabella; Tony Award winner Kelli O’Hara as their feisty maid, Despina; Ben Bliss and Adam Plachetka as the sisters’ fiancés, Ferrando and Guglielmo; and Christopher Maltman as the cynical Don Alfonso. Così fan tutte is a co-production with the English National Opera.

 

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"If the performance had simply been a solid success, that would have been enough to gratify the opera fans who cherish his work and to reassure his concerned colleagues at the Met. But it was much more. Over many years I have heard Mr. Levine give some remarkable accounts of Mozart operas, and I don’t think I have ever heard a more vibrant, masterly and natural performance than this “Così Fan Tutte,” presented in a revival of Lesley Koenig’s simple, sunny and charmingly traditional production from 1996.

Natural is the pertinent word. Mr. Levine does not like music-making to seem effortful, especially in Mozart. In his account the overture segued deftly from the teasing, slow introduction to the effervescent main section. The orchestra dispatched the music’s spinning strands of eighth notes with fleet, articulate energy."--Anthony Tommasini, The New York Times

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