“Così fan tutte”: Serebrennikow convinces with Mozart in Berlin

“Così fan tutte”: Serebrennikow convinces with Mozart in Berlin

“Cosi fan tutte”
Serebrennikow convinces with Mozart in Berlin

The Russian director Kirill Serebrennikow in Hamburg in 2022.  Photo: Marcus Brandt/dpa

The Russian director Kirill Serebrennikow in Hamburg in 2022. photo

© Marcus Brandt/dpa

An acclaimed opera evening marked by the war: director Kyrill Serebrennikow, who lives in exile in Germany, stages Mozart’s “Così fan tutte” at the Komische Oper in Berlin.

The dissident Russian director Kirill Serebrennikov has released his version of Wolfgang Amadeus Mozart’s “Così fan tutte” at the Komische Oper Berlin. The 53-year-old staged the play about love, jealousy and infidelities five years ago via video transmissions from his house arrest in Moscow at the time for the Zurich Opera House. Serebrennikow now lives in exile in Berlin and was able to oversee the work himself.

Mozart makes the deeply in love Ferrando (Caspar Singh) and Guglielmo (Hubert Zapiór) seemingly go to war to put the loyalty of their partners Fiordiligi (Nadja Mchantaf) and Dorabella (Susan Zarrabi) to the test. Instead, Don Alfonso (Günter Papendell), with the help of Despina (Alma Sadé), entangles everyone in a nasty intrigue with reversed roles, from which ultimately nobody benefits.

Serebrennikov, who recently presented his film “Tchaikovsky’s Wife” at the Cannes Festival, realizes the story with its characters on several levels, and extras also take on the roles of the lovers who have been exchanged “This should make it clear that the young women and men are consistent with their memories and their subconscious,” the director explained. Mozart is “ultimately about young people who encounter a hard reality and understand that everything is damn complex”. Also in the Love.

With the war in Ukraine, the staging also has a (frighteningly) real connection. Mozart’s depiction of war has romanticizing traits, “to put it more drastically, one could almost perceive it as propaganda,” as Serebrennikov sees it. He accompanies Mozart’s marching sounds sung by the choir with images of war and mourners. “In my country, which began the war, young people, mostly poisoned by propaganda, go into a senseless and monstrous war to murder and die.”

After Olga Neuwirth’s “American Lulu” based on Alban Berg and Rossini’s “Il barbiere di Siviglia”, Serebrennikow has his third directorial work on the comic with “Così fan tutte”. Opera realized. It is the prelude to all three operas that Mozart wrote to libretti by Lorenzo Da Ponte (1749-1838). Serebrennikov’s “Le nozze di Figaro” and finally “Don Giovanni” follow, whose death appearance in the finale already allows Serebrennikow to quote the music.

For everything there was sustained cheering for soloists, choir and orchestra under the direction of Katharina Müllner.



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