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

It is a difficult task to account for the enigmatic aspects of the music and libretto of Cosi fan tutte. Unlike Le Nozze di Figaro and Don Giovanni, the opera fascinates less for the complexity of its plot and its sheer monumentality, than for its finesse and aplomb. The analysis of the work of the great directors of our century allows us to see how this particularly stimulating opera has given rise to completely different productions, all based on the same music and words. Atmosphere and sensations change radically from one presentation to the other, different contexts and contradictory hypotheses present the spectator with the possibility of identifying with the drama according to his/her own tastes and predispositions.

Staging can therefore, and indeed must, offer the public a physical and concrete interpretation of the opera. This can be done by interweaving human senses and spirit in an artistic mixture of lights, sounds, colours and people, the effect of which is radically opposed to the ascetic austerity that is often, unfortunately, the lot of many opera-goers.

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

N° 3 k

Stefania Panighini

Università di Torino

Analisi della messinscena del Così fan tutte attraverso la lettura di grandi registri del '900

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