Mozart so do all women compare productions. That's what all women do, or the school of lovers

Opera This is what all women do, or the School for Lovers at the Bolshoi Theatre, a grandiose premiere production that closes the season. The performance was created based on the opera with original title"Cosi fan tutte", authored by the great Austrian composer Mozart. The libretto for the opera was written by Lorenzo Da Ponte, who was inspired by one of the events in the court life of that time. Their musical masterpiece at the time caused a lot of conflicting reviews. After all, the order for the creation of the opera So everyone does it came to the composer from Emperor Joseph II himself. It was he who invented storyline operas. There is an opinion that this whole accusatory story with checking the girls for allegiance actually happened. The director of the moralizing performance called the School of Lovers at the Bolshoi Theater is the Dutchman Floris Visser. His competent management of the production, professionalism and skill will allow the best theater countries adequately close the season. After all, the director tried, first of all, to change the idea of ​​​​the plot itself. Previously, he was considered quite frivolous and rustic. But Floris Visser relied on the deep psychological picture characters. It is very easy to destroy not only your own fate, but also the fate of other people. All it takes is one word from a cynical old man. It is very easy to succumb to temptation, but the consequences of this weakness will remain forever.

This opera performance was staged for the first time in the main Moscow theater three decades ago. But only the current stage version of This is what everyone does at the Bolshoi Theater is considered the most complete. It turned out instructive story for all times, which is relevant for our time. Stage design of the production This is how everyone at the Bolshoi Theater is directed by Gideon Davey, a famous British artist. Many world theatrical stages were designed by Davey. For example, the artist has collaborated with the Royal Opera House, Covent Garden, the Lyon Opera, as well as the Globe Theater and many other stages. opera performance viewers who will have time to buy tickets for the production of the School of Lovers will now be able to see in its design.

Comic opera in two acts; libretto by L. Da Ponte.
First production: Vienna, Burgtheater, January 26, 1790.

Characters:

Fiordiligi (soprano), Dorabella (soprano), Despina (soprano), Ferrando (tenor), Guglielmo (baritone), don Alfonso (bass), soldiers, servants, sailors, wedding guests, people.

The action takes place in Naples around 1790.

Act one

The young officers Ferrando and Guglielmo extol the loyalty of their lovers Fiordiligi and Dorabella, two sisters from Ferrara. The old philosopher Alfonso expresses doubts about their firmness (tercet "La mia Dorabella"; "My Dorabella"). He is ready to bet: if within 24 hours the officers will follow his orders, they will see whether their beloved will remain faithful to them or not. Young people agree: they are sure that they will win the bet (tercet “Una bella serenata”; “I am a reward for my dear lady”).

Garden in the house of Fiordiligi and Dorabella. The girls look at the portraits of Ferrando and Guglielmo (duet "Ah, guarda sorella"; "To this person"). Don Alfonso enters with a message: the order of the king calls the officers to the camp. Ferrando and Guglielmo appear and see the despair of their beauties. The lovers tenderly say goodbye (quintet "Di scrivermi ogni giorno"; "Will you write letters?"). Left alone, the girls wish their sweethearts a happy journey," the skeptical Don Alfonso joins them (rubbing "Soave vento"; "Let the wind fill").

A room in the sisters' house. Dorabella is sad ("Smanie implacabili"; "Storm in my soul"). Their servant Despina, who, like Alfonso, does not believe in devoted love, and therefore, in the fidelity of men, calls on the housewives to have fun (“In uomini, in soldati, sperare fedelta?”; “Deceivers are all men.”) The sisters leave the room in great indignation. In their absence, Alfonso asks Despina to help him carry out his plan: to help two young men please their sisters. And here are the new gentlemen: these are Ferrando and Guglielmo, disguised as noble Albanians. Their declarations of love are rejected with contempt by the indignant girls. Alfonso pretends to recognize Albanians as dear friends. But that doesn't make the sisters more amiable. Fiordiligi shows magnificent firmness ("Come scoglio"; "Like stones"), Guglielmo answers her bravo ("Non si ate ritrosi"; "Beautiful ladies, do not be stubborn"). The sisters leave even more angry, and the young people are happy, convinced of the fidelity of their beloved. But Alfonso reminds them that according to the agreement they must continue the game until morning. Ferrando sings of his Dorabella's fidelity ("Un aura amorosa"; "To the lovers, to the beloved").

Garden near the sisters' house. The girls mourn their troubles. Suddenly, the Albanians return and, pretending that they have been poisoned by arsenic, fall to the ground. Fiordiligi and Dorabella feel pity for the unfortunate. Alfonso returns with Despina, disguised as a doctor, and the dying are instantly brought back to life. Young people again begin to care for the girls.

Action two

A room in the sisters' house. Despina reminds them how pleasant it is to enjoy life and love until youth has passed (“Una donna a quindici anni”; “A girl at eighteen”). The sisters agree with her. In the garden, Guglielmo and Ferrando serenade their lovers: Dorabella feels a penchant for Guglielmo (duet "II core vi dono"; "I gave you a heart"), and Ferrando vainly besieges Fiordiligi, who still resists and decides to snatch the handsome Albanian from her heart ("Per pieta ben mio perdona"; "I am yours, my distant friend"). Ferrando, having learned from Guglielmo ("Donne mie, la fate a tanti"; "That's what ladies are capable of") that Dorabella forgot him so quickly, feels unbearable torment ("Tradito, schernito"; "I am betrayed, ridiculed").

Dorabella, seized with a new passion, admits that "Heater Cupid the serpent" ("E Amore un ladroncello"). Fiordiligi sees no other way out than to immediately go with Dorabella to the military camp to the suitors (“Fra gli amplessi in poche istanti”; “Everything suits me - uniform and sword”). But at the last moment, Fiordiligi capitulates and decides to marry Albanians with her sister. The officers are defeated and confused, but Alfonso advises them to agree to the wedding.

Hall in the sisters' house. During the signing of the marriage contract (Chorus "Benedetti i doppi coniugi"; "We wish you to live to old age"; Quartet "E nel tuo, nel mio bicchiero"; "We will find oblivion in wine") news of the unexpected return of Ferrando and Guglielmo arrives. The startled girls blame Alfonso for everything. But he reassures them: grooms, of course, will forgive brides. Everyone is happy.

G. Marchesi (translated by E. Greceanii)

EVERYONE DOES THIS (Cosi fan tutte) - opera-buffa by W. A. ​​Mozart in 2 acts, libretto by L. da Ponte. Premiere: Vienna, January 26, 1790, conducted by the author; in Russia - St. Petersburg, by the forces of the German troupe, 1813; on the Russian stage - St. Petersburg, Maly Theatre, November 4 or 15, 1816 (under the title "Test of female fidelity, or That's what women are all about", with the participation of E. Sandunova and V. Samoilov).

Tradition says that the basis of the opera is a genuine event that took place at the court, to which Emperor Joseph II pointed out to the librettist. At the same time, the libretto uses situations familiar to the opera buffa. Reproaches of cynicism, heard in the XIX century. addressed to the librettist, are unfair. The characters in the opera are frivolous, but not immoral. And finally, the libretto cannot be considered separately from the music, which immeasurably deepens the images actors.

The old skeptic and cynic philosopher Don Alfonso convinces the young officers Ferrando and Guglielmo, who are engaged to the sisters Fiordiligi and Dorabella, that women are frivolous, and their loyalty is best case doubtful. The grooms decide to test the fidelity of their beloved and inform the brides that they must immediately go to war. The sisters say goodbye to the grooms in tears. Alfonso manages to get the cunning maid Despina involved in the game. Ferrando and Guglielmo, disguised as Albanians, enter the house and begin courting Fiordiligi and Dorabella, each declaring his love for the other's bride. The girls indignantly reject the admirers, but then, seeing that the upset strangers are ready to commit suicide, they become supportive. Dorabella is the first to give in: she not only accepts as a gift golden heart from Guglielmo, but gives him a medallion with a portrait of Ferrando. After some hesitation, Fiordiligi succumbs to Ferrando's insistence. The young men are upset by the infidelity of their beloved, but Don Alfonso consoles them with the fact that all women do this. The sisters are ready to marry imaginary Albanians. Despina, who previously dressed up as a doctor to treat lovers who allegedly took poison, is now ready to draw up a marriage contract as a notary. At the moment of its signing, a march is heard announcing the return of the army. So the suitors must return. The sisters are confused. The "Albanians" disappear, and soon Ferrando and Guglielmo appear. They play the comedy of jealousy, threatening revenge. Alfonso reconciles the lovers.

Mozart's music is full of charm. Although, at first glance, the composer departed from the realistic principles established in The Marriage of Figaro and Don Giovanni and returned to the traditional buffa opera, in fact, the buffoonery here is only an external and not the most characteristic property. Despite the fact that dressing up, according to the laws of the theater, makes a person unrecognizable (even in Shakespeare), it is hard to believe that the sisters did not recognize their fiancés in the "Albanians". Maybe the comedy is played not only by men who test the fidelity of their beloved, but also by women? After all, frivolity is shown not only by Fiordiligi and Dorabella, but also by their suitors. The theme of the opera is not so much female frivolity as the variability of the heart, the inscrutable laws of love.

Later attempts to save Mozart from accusations of frivolity by substituting da Ponte's libretto for the text of Shakespeare's comedy Love's Labour's Lost or Calderon's The Invisible Lady failed. The theater reverted to the original version. The skill of the composer, the lofty charm and grace of the music, whimsical and playful, are not inferior to the highest achievements of his genius. Completely underestimated by the theater in the 19th century, this work only in the 20th century. took his place in the legacy of Mozart. It is currently one of the composer's most popular operas. In 1963, it was put up by the Moscow Musical Theatre them. Stanislavsky and Nemirovich-Danchenko. Productions recent decades: 1984, Basel (directed by L. Bondi); 1986, PepsiCo Fair (director P. Sellars); 1987 Glyndebourne Festival (F. Lopardo - Ferrando); 1989, Milan, theater "La Scala" (A. Corbelli - Guglielmo); 1990 Salzburg Festival (A. Corbelli - Don Alfonso); 1991 Glyndebourne Festival (A. Rookroft - Fiordiligi); 1992, ibid. (R. Fleming - Fiordiligi); 1994, Cologne (O. Baer - Guglielmo) and Vienna (B. Fritolli - Fiordiligi, V. Kazarova - Dorabella, C. Bartoli - Despina); 1996, New York, Metropolitan Opera (C. Bartoli - Despina) and Ravenna Festival (B. Skofus - Guglielmo); 1997 London, Covent Garden Theatre; 2002, Petersburg, Mariinskii Opera House(premier - February 9). The last production was at the Salzburg Festival in 2004 (E. Garrancia - Dorabella).

On a libretto (in Italian) by Lorenzo Da Ponte, perhaps inspired by one of the events of court life.

Characters:

two rich sisters:
FIORDILIGI (soprano)
DORABELLA (soprano or mezzo-soprano)
DESPINA, their maid (soprano)
Guglielmo, officer in love with Fiordiligi (baritone or bass)
FERRANDO, officer in love with Dorabella (tenor)
DON ALFONSO, old philosopher (bass or baritone)

Action time: around 1790.
Location: Naples.
First performance: Vienna, Burgtheater, January 26, 1790.

This opera by Mozart has been performed on the stages of the world under so many different names that no other opera in the history of this genre has known. For example, at the Metropolitan Opera, it was called "Women Like This". In England, it's a quid pro quo. In Germany, she had a dozen different names, including such incredible ones as "Who won the bet?", "Revenge of the girls" and even "Partisans". In Denmark it ran under the title "Escape from the Monastery", in France - believe it or not - as "Chinese laborer" and - fifty years later - "Love's Labour's Lost". The latest version was concocted by the "firm" of Barbier and Carré, libretto makers who specialized in reworking music shows literary works great authors. They completely rejected the original libretto and adapted Mozart's music to their own adaptation of an early Shakespearean comedy. There was a reason for this treatment of the opera. The opera All Women Do It This Way has never been as popular as Figaro and Don Giovanni, but the actual music of this opera - this is recognized by critics - is just as wonderful. Thus, it was believed that the whole problem was with the libretto. It was criticized either for the immorality of the plot, or for its frivolity, or for being too artificial. Perhaps there is some merit in all this criticism. But the fact remains that none of the many versions of the libretto has ever been more popular than the original. So let's be satisfied with it. I personally find this libretto excellent. As for its meaning, it is a school - "School, - as the author's subtitle clarifies, - lovers."

Tradition says that the plot of the opera is based on an event that happened shortly before in the court environment of Emperor Joseph II. Perhaps this is so, because the order for Da Ponte and Mozart to write a comedy came from the emperor. Perhaps the emperor was prompted to this by the huge success of the "Marriage of Figaro", which everyone was witnessing. "So Do All Women" was a magnificent fulfillment of this order.

OVERTURE

The overture to this opera is short and unpretentious. The only thing it has in common with opera is that it quotes the melody that the three main male characters sing (act II, scene 3) when they say that “cosi fan tutte” (“all women do this”).

ACT I

Scene 1 The comedy itself begins in a Neapolitan cafe at the end of the 18th century. Two young officers start an argument with an old cynic philosopher named Don Alfonso. He claims that their brides, if put to the test, will never be faithful to their suitors: female fidelity in general is a phoenix that no one has seen. (Alfonso's words: "The fidelity of women, / Like the Arabian phoenix, / Of which you all speak, / But where he is, no one knows," are borrowed from scene 3, act II of the Metastasio Demetrius libretto, in which, however, instead of the words "delle femmine" - "women" - speak of "degli amanti" - "lovers" - A.M.). Young people insist that fidelity of brides is nothing incredible. In the end, Don Alfonso offers to make a bet on one hundred sequins (approximately $ 225 - the amount that a young officer was able to earn in a year at that time). The conditions are simple: both officers undertake to do everything that Don Alfonso prescribes for them in the next 24 hours in order to test the girls, of course, without revealing anything to them. The scene ends with the last of the three tercetes, in which the officers express their confidence in their win and discuss how they should do with their money when they win it (if they win!).

Scene 2 introduces us to two young heroines - the sisters Fiordiligi and Dorabella. Both of them, in the garden of their house, peer intently into the bay of the Gulf of Naples and sing together about the beauty and virtues of their lovers - Guglielmo and Ferrando. The girls are waiting for young people to come to them, but instead of them old Don Alfonso comes with terrible news: their suitors, he says, were unexpectedly ordered to immediately go on a campaign with his regiment. The next moment, our cavaliers appear already in marching ammunition. Naturally, a magnificent quintet sounds: four young people express their grief at parting, while Don Alfonso assures the young men that the game is just beginning and it is too early for them to count their profits. As soon as the quintet ends, soldiers and other townspeople appear. They sing about the joys of a soldier's life. Now it really is time for the young people to leave. But not so hastily as to not be able to take part in the final farewell quintet (“Di scrivermi ogni giorno” - “Will you write letters?”). The soldiers' choir sounds again, and now our heroes are leaving, leaving their girls with Don Alfonso. Those who remain wish a successful campaign to those who leave and do it in a wonderful little tercet ("Soave il vento" - "Let the wind fill"). The scene ends with a few cynical remarks that Don Alfonso lets out to the audience. You can rely on the loyalty of women, he says, as well as plow the sea or sow the sand.

Scene 3 introduces the sixth and most involved in the intrigue character. This is the maid Despina, coloratura soprano. In recitative, she laments how bad it is to be a maid, and so grieving, she tastes the chocolate of her mistresses. The sisters enter their living room, and Dorabella sings the frantic pseudo-heroic aria "Smanie implacabili" ("Storm in my soul"). Unbearable for her, she says, Fresh air. Close the windows! She can't live with her grief! When Despina finds out what, in fact, her grief is - that her beloved has gone to war - she gives the same advice that Don Alfonso gave to young gentlemen: take advantage of the moment while your boys are absent, because they are not faithful either. Soldiers are like that. The girls leave the room indignantly.

Don Alfonso appears. With the help of money, he convinces the maid to assist him in his plans - to make the girls favorably treat two new admirers. Almost immediately, Ferrando and Guglielmo appear, dressed in exotic clothes, with artificial beards. They introduce themselves to girls as Albanians. Alfonso, in turn, assures the sisters that these "Albanians" are his old friends, and the two young people instantly begin to passionately court their own brides. But the girls indignantly stop their love confessions. In the aria "Come scoglio" ("Like stones"), Fiordiligi emphatically declares his eternal devotion. Perhaps she protests too vigorously. In any case, her aria is characterized by an unusually large range and very wide leaps, special exaggerated difficulties, piled up by Mozart especially for the then favorite of Da Ponte, Adriana Ferraresi del Bene, who played this role at the premiere. Guglielmo tries to convince his passion with a wonderful melody, but this time he fails. The girls leave indignantly - much to the delight of their suitors. The suitors (in the resulting tercete) try to get what is due to them from Don Alfonso, but he declares that it is too early to sum up. Ferrando, the tenor in this company, sings about how happy he is in his love, and the whole scene ends with Don Alfonso and Despina devising a new plan to defeat the girls.

Scene 4 brings us back to the garden. The two girls sing another very tender duet about how sad they are. At this moment, a noise is heard offstage. Their two lovers, still dressed as "Albanians", stagger in with Don Alfonso, as though they had taken poison (arsenic) because of their hopeless passion for girls. (Of course, they actually did nothing of the sort.) Don Alfonso and Despina assure the girls that these young people will die if they are not helped, and they run off to get a doctor. While they are gone, the two girls are in touching excitement: they count the pulse of the "Albanians" and provide them with the first - completely unnecessary - help. Then Despina returns, disguised as a doctor, speaking in a completely unusual jargon. In the end (and this is a kind of satire on Mesmer's theory of animating magnetism) she brings a huge magnet, applies it to the bodies stretched out on the ground, and they are a miracle of miracles! - come alive. Their first words are words of love, and although (in the final sextet) the girls continue to resist, it is clear that Don Alfonso's plan is starting to work.

ACT II

Scene 1 At the very beginning of this action, Despina, the sisters' maid, offers her mistresses some very detailed and verbose advice. In a typical soubrette aria, she says that by the age of fifteen, any girl can win in flirting. She must arouse the interest of every man, be able to lie convincingly - then she will rule the world. Fiordiligi and Dorabella decide that this theory makes some sense: it won't hurt to flirt a little. And now they are already distributing among themselves who will get what “Albanian”. Dorabella chooses a brunette (who is actually Guglielmo, who is engaged to Fiordiligi). Fiordiligi gets the blond (that is, Ferrando, Dorabella's fiancé). The scene ends with Don Alfonso's invitation to go down into the garden to see what is really worth seeing.

Scene 2 begins with a duet sung by two young men in love with their lovers. They are in a boat near the shore where the garden is; they are assisted by a company of professional serenades. When the boys land on the shore, all four lovers are embarrassed, and Don Alfonso turns to "Albanians" while Despina goes to the girls. Fiordiligi gets lost among the flowers with Ferrando, while Dorabella and Guglielmo stay behind to flirt. Their words quickly develop into a very melodic duet, and before things go too far, Dorabella gives Guglielmo a portrait of her fiancé, Ferrando. Then they go for a walk among the flowers. At this moment, Fiordiligi returns; she is one. Apparently, Ferrando made her some inappropriate proposal and was rejected, as we can see from the story of the soprano in her virtuoso aria "Per pieta ben mio perdona" ("I am yours, my distant friend"). However, her appeal to her now distant lover does not seem sincere, and there is serious doubt about how long she can remain faithful to him. In any case, her oath does not sound convincing. And when the three men meet to exchange their impressions, Guglielmo triumphs, Ferrando, however, in despair, and Don Alfonso promises further developments Wait, he says, just until morning.

Scene 3 develops some differences in the character and temperament of the sisters. Dorabella has already succumbed to Guglielmo's pressure and Despina is now congratulating her, but Fiordiligi, although he admits that he loves another alleged Albanian, still holds back his feelings. Now she decides that they should dress up in the same military uniform as their lovers and join them at the front. But as soon as she put on this outfit, Ferrando bursts in. He asks to be killed with a sword before she leaves him. It's too much for her. She is unable to inflict such suffering on him and, defeated, leans on his chest. Guglielmo, her real fiancé, is watching everything that happens with Don Alfonso. Now the second lover is in despair and scolds her for what the world is worth. He is not too comforted by the return of his smug friend Ferrando, who has endeared Fiordiligi to him. But Don Alfonso reassures them both. In a short speech, he offers to marry their own brides without delay, because, as he says, "Cosi fan tutte" - "That's what all women do!" Together they repeat this solemn conclusion: "Cosi fan tutte". The scene ends with Despina announcing that the ladies are ready to marry "Albanians".

Scene 4 Despina and Don Alfonso instruct the servants how to prepare a large room for the wedding, after which they leave. Happy lovers (men still in the guise of "Albanians") are congratulated by the choir, and they themselves sing a quartet in which they congratulate each other. It ends in three voices (canon) as Guglielmo steps aside and speaks of his disappointment.

Don Alfonso now introduces the necessary notary for this case, who, of course, is none other than Despina in disguise; he (she) brought with him a marriage contract. The wedding ceremony begins. At this moment, a chorus of soldiers is suddenly heard offstage. It can't be, but the sisters' former lover has suddenly returned! The girls shelter their new suitors in the next room, and in a moment the young men appear before them in their marching military uniform. Almost immediately, Guglielmo takes his backpack to the next room and finds Despina there, still in disguise and disguised as a notary. She quickly explains to him the reason for her strange appearance (she is going to a masquerade), but when Alfonso meticulously demonstrates the marriage contract to another young man, Ferrando, the game is over for the girls. The sisters pray for death for their guilt. But then the young men once again quickly dress up in their "Albanian" costumes, Guglielmo returns Dorabella's portrait of Ferrando, and Don Alfonso finally explains everything. The lovers are duly reunited, and all six characters unanimously proclaim the moral: happy is the one who is honest and just, who in all cases determines his actions with reason. A typical maxim of the Age of Enlightenment.

Henry W. Simon (translated by A. Maykapar)

One of three latest operas Mozart, “So do all women”, is not far ahead of “The Mercy of Titus” and “ magic flute". In this comic opera, the moralistic criticism of Le nozze di Figaro becomes more caustic, penetrating the image of female insidious play and cold calculation. The successful premiere was followed by performances on German, and in the 19th century, changes were made to the libretto in order to moderate the cynicism of the bet, which confirmed the correctness of the no less cynical Don Alfonso: “these changes testified to the unacceptability of the opera for a part of the bourgeois public” (as Gioacchino Lanza Tomasi rightly writes). “It can be said that the more than rationalistic, truly mathematical structure of the libretto includes the commonplaces of the comedy of masks. Six characters correspond to types Italian opera representing certain spiritual qualities: Ferrando - pompous lover, Guglielmo - eloquent boyfriend, Fiordiligi - the embodiment of pride and sensitivity, Dorabella - inconstancy and carelessness; there are also two wise men: the maid Despina, the personification worldly wisdom, and the old philosopher Don Alfonso... From beginning to end, the score is imbued with feverish joy, this offspring of the mechanism and rationalism of the old regime, which has reached its apogee and knows no doubt. At the same time, in this perfect picture of a gallant society, proving that twice two makes four, Mozart introduces something else, not romantic feelings, but an excitement of passion, restlessness of the heart. The anxiety of this last picture of contemporary society created by Mozart is already felt in the overture, a clear and deep analysis of which was given by the late Diego Bertocchi: “After three opening chords of the whole orchestra, one of the instruments that has symbolic meaning in the opera, the oboe brings a touch of sarcasm... the very first Andante theme anticipates Don Alfonso's sarcasm. The second theme is played by strings and bassoon: in three measures the main idea (motto) of the opera is expressed ... referring ... to the words of Don Alfonso “All women do this way”. This is followed by a cadenza conclusion of six chords by the entire orchestra, six, as is the number of actors. Then Presto, in a swift and confident performance of the violins, in which one can discern hints of a merry scene immediately following the rise of the curtain, and new syncopated chords of the whole orchestra, as if depicting, according to Dent, the protests of the officers who did not believe Alfonso, Ferrando and Guglielmo, as if trying to slow down the easy and rapid pace of events.

The first scene, which combines tenderness, gallantry and at the same time secret intent - the quintet "Will you write letters?"; in it, the lovers exchange sweet farewells, accompanied by Alfonso's increasingly caustic comment, "That's nice! That's fun!" Alfred Einstein writes: “How should Mozart have reacted to this scene? The girls shed real tears, while the officers know that there is no reason to despair. Mozart raises the banner pure beauty not forgetting, however, about the old cynic, who in the background is dying of laughter. And there is really a lot of pure beauty here, so that light and elegant melodies with some chromatic roughness and pleasant cadence roundings seem like pious chants, like sacred music. Left alone, Alfonso, and especially Fiordiligi and Dorabella, wish the two soldiers a good journey and peace to their souls. A veil of illusion hides a cruel and disappointing reality, light shadows run and disappear, while gentle and bright voices soar up in a farewell greeting. And here tenderness is mixed with piety, as in sacred music, and the flowery ups and downs of Fiordiligi's voice seem to be called to crown someone on high. Only a few excesses of musical flourishes, such as a small scale of horns or a lowered, ordinary voice of Don Alfonso, a little caustic, are reminiscent of a comedy. In general, truly comic parties are presented to a sufficient extent and become real buffoonery, which are imbued with the subtlest psychological observations.

Such, for example, is the joyful satisfaction of Dorabella, ardent and fickle, when she realizes that she is truly loved, that is, she falls into the trap of Alfonso, such is her ingenuous aria of the traitor and at the same time carefree lucky woman "Heater Cupid the snake." Considering that this ardent love is the fruit of more than unusual circumstances, one cannot help but laugh, as it happens with Guglielmo at the end of his buffa aria (the most wonderful buffa aria that was ever written, according to Einstein) when he introduces himself and his friend to the sisters, stubborn in their pride ("Beautiful Ladies"). His tirade ends with laughter and turns into a cheerful tercet of Guglielmo, Ferrando and Alfonso. Arietta Guglielmo is very interesting: here the repetition of the first stanza instead of further development lingers on comic theme and, as it were, breaks off to resume again with the introduction of seemingly tickling onomatopoeia (“We are proud of our mustaches ...”) and finally, light syncopated jumps in tercet. As an example of a caricature, why not recall Fiordiligi's aria "Like stones that argue with the storm"? The orchestra can roll its stormy waves, throw lightning at this barrier - it will never budge. This is evidenced by the ascending and descending leaps of the octave and decima, as if measuring the bulk of this rock, as well as the impregnability of the Amazon in the voice of a gentle native of Ferrara. She doesn't know (or is she just pretending?) that love comes without thunder. military lungs and quick steps, talks about banal things and in the end imperceptibly makes the heart beat faster.