Così Fan Tutte

CosìFanTutte, ossia La scuola degli amanti, or more famous CosìFanTutte, is one of Mozart's last operas, "Women are the same, or lovers' school." The theme of this opera, named after this, is the impulsiveness and infidelity of women. The script for this work was written by Lorenzo da Ponte which is also a screenwriter of Don Giovanni and La nozze de Figaro, and two famous Mozart operas, which took place on January 26, 1790 in Burgtheater, Vienna. . Although the exact origin of Pon's story based on his script is unknown, many people thought the story is based on Jose Emperor's scandal.

The musical expression of Figaro 's wedding trio (where Baggio played Cosìfantuttele belle) was later reinterpreted by Mozart as his opera singer Cosìfantutte. Mozart also cited the Aria of Figaro "Non-piùandrai" at the second act of his opera "Don Giovanni"; it was also used as a military parade. In addition, Mozart used it in his 5th series in 1791, K. 609, No. 1. Mozart reuses his early Krönungsmesse (Gennonsmesse) Agnus Dei music as C Country Major, not the original F Major, as the Earl 's Dove sono. Mozart also reinterpreted the theme of the early bassoon concerto. Franz Liszt quotes opera by theme fantasy of Mozart 's Figaro and Don Giovanni.

This opera is the first of three collaborations between Mozart and Da Pong. Their subsequent cooperation was Don Giovanni and Cosìfantutte. Mozart first chose the theater of Beau Marche and brought it to da Ponte. It turned it into a script in 6 weeks. In particular, Da Ponte replaced the Figaro's climax speech against aristocratic inheritance with the same angry aria against a non-faithful wife. Contrary to popular myths, this script was approved by the emperor before Mozart made music.

Mozart sometimes moves focus between opera and instrument. He is producing operas of opera series such as Figaro's wedding, opera such as Don Giovanni, Cosfantat etc, opera series such as Idomeneo, and the most famous Dee Sauberfreight among composers. In his late opera, he made subtle changes to the tones for instruments, the texture of the orchestra, and the emotional depth and marked a dramatic change. Here, his progressive interaction in the composition of opera and instrument: His increasingly complex use of the orchestra in the symphony orchestra and concerto influenced his operatic arrangements, and he subtle psychology I used a band orchestra to develop a positive effect. Please come to reflect his recent non-opera work