Examination of Cosi Fan Tutte by Mozart
Cosi fan tutte is an Italian soap opera written by Wolfgang Amadeus Mozart. It was initially performance in January 26 1790 at the Wiener Burgtheater in Vienna, Austria. Lorenzo Da Ponte is its writer, who also wrote Don Giovanni and Le nozze di Figaro. The English translation of cosi fan tutte is ‘thus does all women; however, the popular translation is that ‘women are like that’. In the play, the main theme surround two men swapping their fiancées’ while hopping that there fiancées will remain faithful. The fiancées end up failing the other new lovers, thus the conclusion ‘women are just like that’.The opera is characterized by elaborate wigs, beauty spots, laughter, and superb singing among others elements. These elements make the opera so fascinating. This essay entails examining and discussing the dramatic values of cosi fan tutte. It also to include the key terms of music that apply.
Intrigue part of the opera revolves around the bet between Alfonso, Gugleilmo and Ferrando. The play begins with the bass and tenor playing Guglielmo and Ferrando respectively, who are the young competing soldiers of the 18the century. The first scene begins when Don Alfonso, their colleague, hears the two soldiers boasting about how their girlfriends are faithful. Dorabella is Ferrando’s girlfriend, while Fiordiligi is Guglielmo’s girlfriend. Don Alfonso is an old bachelor who happens to be very cynical. Thus, he places a bet against the young soldiers so that they can test the fidelity of their fiancées. This will be done by the young soldiers claiming to have left for war, and eventually return in disguise, in the form of exotic Albanians. Upon returning, each will try to seduce the other’s fiancée. In efforts for Alfonso’s bet to succeed, he is assisted by a Despina, a maid, to aid in the downfall of her maid; however, Despina does so unconscious about the bet. At the end, when the women learn about the bet and the plot, they become furious as they reunited with their lovers.
It is imperative to evaluate the strange lightheartedness behind cosi fan tutte, the amoral and severe in its setting, and the underplays. The opera is complex but well organized and eccentric. The play is gives references and echoes and is sometimes problematic to unlock. This is because it focuses acceptable limits, the normal incidences of love, and issues of life in general. Cosi fan tutte is a kind of collaboration done is a dynamic and symmetrical structure as revealed in the plot. Thus, there is an echoic quality of the opera coupled with sensational music. More so, the composition is impeccable and there is no imposition of any outside source.
In the first act, it is evident that Mozart presents the individuals in pairs in order to display how the pair thinks, or addresses a certain situations. The characters act or sing together and there is imitation of the individuals and repetition of the lines. Through repetition, Mozart intended to make the audience have a feeling that they are in a closed environment characterized by imitation, parody, and melody, which cannot be easily separated. This is eminently indicated in the sextet that draws a miniplay featuring Alfonso and Despina, then the two young soldiers, and later their fiancées, all who comment on one point, and that guarantees Despina to make a comment too. It is apparent that the whole number, the basically C major, which is the major key in cosi fan tutte, reveals a maze expostulation and advance, echo, and statement, which challenges all the opera by Mozart. It merely erodes the gravity and stability that had been established in the initial stages of the play.
In the opera, the characters have internalized characters that are full of implicit, are politically and morally limited. Overture is evident and this is displayed perfectly in less than four minutes. Even though the overture was written after Mozart had written the main body of the opera, it pushes the orchestra players to their extreme limits. It is obvious that there is the orchestra has consonance and is uniquely alive and that displays that the 18th century opera were very competitive. Mozart's melodies are enormously faithful to character and situation that contain a charm, a sparkle, a technical perfection of form, an expressive virtuosity, and an utter spontaneity (Fisher 20).
All through the play, the tone evident by most characters is that women are not considered serious people. Thus, Alfonso is able to win the bet. This is because he understands them to be deceitful and this is evidently proven when the young soldiers realize that their fiancées are weak as they fall in love with strangers. More so, Despina, who happens to perform subordinate jobs for the two sisters plays a role in advising when making decisions about the cheating their boyfriends. Without knowing the bet between the old soldier and the young soldiers, Despina becomes Alfonso’s accomplice. Thus, Mozart names the opera cosi fan tutte. More so, the major theme surrounds sex and love is eminent in the opera, just like all other operas. Thus, sexual awakening is the major theme of the opera with the climax of the opera being when Fiordiligi gives gets seduced and is not willing to give up her new lover for the old partner.
The opera appears to be kind of a present day opera due to the casualness of the evil. After the evils are committed, reconciliation is a primary element that is required so that the victims can proceed with their ordinary life. Love and sex are important elements of the opera, but women are the major victims who are mostly affected by the unexpected outcome of events. The music played highlights the lows and high of events during the play. The music serves its purpose. Cosi fan tutte is success full opera of the 18th century, even though traditionally produced; it can beat the standards of some present day operas in respect to music, and the artistic elements.
Fisher, Burton D. Mozart's Cosi Fan Tutte. Miami: Opera Journeys Publishing, 2004. Print.