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THE ROYAL OPERA

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Exceptional philanthropic support from

Royal Opera House Principals Julia and Hans Rausing

The role of Despina is generously supported by Jane Hemstritch AO

The edition of Così fan tutte used in these performances is published by Bärenreiter-Verlag Kassel, edited by Faye Ferguson and Wolfgang Rehm. Performed by arrangement with Faber Music Ltd, London

Così fan tutte

OPERA BUFFA IN TWO ACTS

26.06.2024 19:00

The 188th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

The performance will last about 3 hours 15 minutes, including one interval.
Act I
85 minutes
Interval
25 minutes
Act II
85 minutes

GUIDANCE

Content suitable for all. We cannot admit children under the age of 5.

Children under the age of five are not permitted into our auditoria. Children over five must have their own ticket and sit next to an accompanying adult.

CREDITS

Music
Wolfgang Amadeus Mozart
Libretto
Lorenzo da Ponte
Director
Jan Philipp Gloger
Revival Director
Oliver Platt
Set Designer
Ben Baur
Costume Designer
Karin Jud
Lighting Designer
Bernd Purkrabek
Dramaturg
Katharina John

CAST

Conductor
Alexander Soddy
Ferrando
Daniel Behle
Guglielmo
Andrè Schuen
Don Alfonso
Gerald Finley
Fiordiligi
Golda Schultz
Dorabella
Samantha Hankey
Despina
Jennifer France
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding
Chorus Master
Genevieve Ellis
Orchestra
Orchestra of the Royal Opera House
Concert Master
Sergey Levitin
Fortepiano Continuo
Alexander Soddy

Extra Chorus

Sopranos Rachel Chapman, Stephanie Corley, Susan Jiwey

Mezzo-sopranos Zoe Haydn, Frances Jellard, Clare McCaldin, Jennifer Westwood

Tenors Phillip Bell, Mark Chaundy, Darrell Forkin, James Geer

Bass John Morgan

Actors Aquira Bailey-Browne, Lucy Brenchley, Chris Edgerley, Jamie Francis, John Kamau, Douglas Santillo, Josh Thompson

SYNOPSIS

ACT I

Ferrando and Guglielmo discuss the fidelity of women with Don Alfonso. They claim that their own fiancées, Fiordiligi and Dorabella, are immune to any temptation. Don Alfonso insists that all women are unfaithful, and his two friends demand that he prove it. So Don Alfonso challenges them to a wager. He wants to show them both that even their girlfriends are no exception to the rule. The two of them agree to follow Don Alfonso’s instructions for the next 24 hours.

Fiordiligi and Dorabella are waiting for their lovers. But in their place, Don Alfonso arrives to announce that Guglielmo and Ferrando have been called up for military duty at short notice. They are just coming back to say their farewells.

Despina tries to comfort the two women over their loss and urges both Dorabella and Fiordiligi to find new lovers in the meantime. They are shocked at the idea.

Ferrando and Guglielmo return, disguised as foreigners. They remain unrecognized, and now begin to woo the two women. Despina helps them, but their efforts are in vain. The friends are rejected brusquely, and already begin to celebrate winning their wager. But they are too soon, as the agreed 24 hours are not yet over. While Ferrando ponders his love for Dorabella, Despina is preparing the next steps with Don Alfonso, raising the question as to the true nature of love.

The two spurned ‘foreigners’ now pretend to kill themselves. They succeed in impressing Dorabella and Fiordiligi, awakening their pity. The two men are seemingly saved from death by Despina, now disguised as a healer. The women’s display of compassion encourages the men to try another attempt at courtship; this confuses Dorabella and Fiordiligi and they depart, furious.

INTERVAL

ACT II

Despina shares her own experiences of love’s variety with the two women. Dorabella and Fiordiligi decide to engage with the two men, just for the fun of it. Each already has her own favourite – namely the fiancé of the other. A crisscrossing game ensues. Dorabella responds enthusiastically to Guglielmo’s courtship, while Fiordiligi struggles with conflicting feelings and desperately tries to find a way to preserve her honour and innocence. Guglielmo reports to Ferrando his experiences with Dorabella. Despite her betrayal, Ferrando still feels deeply committed to her, though she meanwhile seems to have taken on Despina’s views wholesale. Ultimately, the despairing Fiordiligi also follows her on this path, falling in love with Ferrando. Don Alfonso sees his beliefs confirmed: ‘Così fan tutte – that’s how all are!’.

Fiordiligi and Dorabella are ready to marry their new lovers. Despina pretends to be a notary and issues the marriage contracts. The new couples sign them. Don Alfonso now unexpectedly announces the return of the women’s original fiancés. Guglielmo and Ferrando reveal their true identities. The irritation is considerable; the experiment has succeeded, and nothing is how it was before.

PRODUCTION CREDITS

Music preparation
Paul Wynne Griffiths, Catriona Beveridge, Mark Packwood, Edward Reeve
Assistant Director
Alicia Frost
Language Coach
Emma Abbate

Edward Reeve is a Jette Parker Artist

THE ROYAL OPERA

Patron

HM The King

Music Director

Sir Antonio Pappano CVO

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

roh.org.uk/donate