Perhaps it’s just the influence of present day sensibilities, but Così fan tutte, whether it’s played straight or as farce, always seems to me to be dramatically unsatisfactory, a perceived fault that the wonderful music does much to both paper over, mitigate and sometimes – in its beauty and occasional high seriousness – to emphasise.
Act II
Act two begins with the maid, Despina, lecturing the two girls on the ways of the world (Una donna a quindici anni) and the sisters eventually deciding that perhaps a little flirtation with their two ‘Albanian’ suitors would do no real harm (Prenderò quel brunettino).
The Albanians return and while Guglielmo has some success in his pursuit of Dorabella (Il core vi dono), Ferrando fails to weaken Fiordiligi’s resolve to remain true to her betrothed (Per pietà, ben mio, perdona). Guglielmo, while he sympathises with Ferrando over Dorabella’s fall from grace, is secretly pleased to learn of his own fiancée’s steadfastness (Donne mie, la fate a tanti).
The two women compare notes and Dorabella admits she’s responded to her Albanian’s advances (È amore un ladroncello). Upset by her sister’s perceived defection, Fiordiligi resolves to journey to the army and find Guglielmo, but, before she can, Ferrando arrives and, finally, she surrenders to his siren voice (Fra gli amplessi).
Don Alfonso has won his bet, and after the drawing of the moral (Tutti accusan le donne) this particular Gordian knot is cut and everyone lives happily ever after (Sani e salvi, agli amplessi amorosi). Così fan tutte??
Vocal score
(with English translation)
Any copyrighted material on these pages is included as “fair use”, for the purpose of study, and critical analysis only, and will be removed at the request of the copyright owner(s).
Pantygwydr!
The Art of Listening 