Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev3b bonnet
Rev3c naudeix
Rev3d silvio
Rev3e quetin
Rev3a preface
Rev3f gier
Rev3g cazaux
Rev3n loubinoux
Rev3l kondyli
Rev3k panighini
Rev3j angermuller
Rev3i guertin
Rev3h champonnois
Rev3 representations
Rev3m parodi

Cosi was Mozart’s least understood opera, as testified by the many rewritings and reinterpretations that marked the piece. The suspicions aroused by this opera lasted for over a century.

The present article gives the names of all the singers included in the first cast, with short biographical notices, as well as the titles which were used, until 1910, in German, Italian, Spanish, Danish, Dutch and French performances. The paper, which also points out first editions, mentions the tempi used in the transcription for keyboard published in Paris by Schlesinger in 1822.

Cosi was adapted in different ways in German-speaking countries. The baldness of the plot and the weakness of the text were particularly criticised in the nineteenth century. Between 1791 and the mid-nineteenth century different versions of the opera were presented both internationally and locally.

After 1850, only a few versions were still presented on stage. In France, important changes were made relating to both text and music. For example, musical pieces by other composers were inserted and the action was altered. It was only in the twentieth century that Cosi was revived in its original form by Richard Strauss and Karl Böhm.

Migrations culturelles de l'histoire de la représentation aux XVIIIème et XIXème siècles en Europe

N° 3 j

Rudolf Angermüller

Internationale Stiftung Mozarteum Salzburg

Così fan tutte auf europäischen Bühnen 1790 bis 1910

Jérome Bonnet
Jérome Bonnet - Arsinoe de Tammaso Stanzani

Laura Naudeix
Laura Naudeix - Présence de la tragédie en musique française

Sandrah Silvio
Sandrah Silvio - Style et technique des chanteuses lyriques italiennes

Laurine Quetin
Laurine Quetin - Réception de l'art lyrique italien en Russie


Albert Gier
Albert Gier - Zwischen Tragödie und Melodram

Chantal Cazaux
Chantal Cazaux - Gaetano Donizetti de Naples à Paris et Vienne

Gérard Loubinoux
Gérard Loubinoux - Castil-Blaze, héritier des querelles du XVIIIè siècle

Georgia Kondyli
Georgia Kondyli - Les Danaïdes ou les migrations d'un mythe

Stefania Panighini
Stefania Panighini - Analisi della messinscena del Così fan tutte

Rudolf Angermüller
Rudolf Angermüller - Così fan tutte auf europäischen Bühnen

Ghyslaine Guertin
Ghyslaine Guertin - L'Europe musicale d'après un migrant du XVIIIè siècle

Cécile Champonnois
Cécile Champonnois - Travellers and Amateur Opinions on XVIIIth Century


Elena Biggi Parodi
Elena Biggi Parodi - "Les Danaïdes" di Salieri diretta da Gaspare Spontini