With black widow’s veils and bowed heads, Fiordiligi and Dorabella follow the cremation of their lovers, while huge grave arrangements already indicate a bombastic state funeral. The melancholic farewell sound of her terzettino with Don Alfonso (“Soave sia il vento”) acquires something eerie in the flames of the crematorium. Soon the two sisters are presented with the urns of their fiancées. Because while Mozart and his librettist Lorenzo da Ponte only fake their call to war so that they can test the fidelity of their wives in an open-hearted experiment, director Kirill Serebrennikov does in his production of “Così fan tutte ” out of bloody seriousness – at least under a garishly comical surface. On the upper floor of his stage set, which is divided into two floors, sadly current images of the war flicker across the screen. The battle scenes in the basement, bathed in martial orange, come from a video game with which Don Alfonso, who is drinking whiskey, is passing the time. Whether the heroic deaths of Guglielmo and Ferrando are only staged or whether they actually die, only to return later as ghosts watching their wives from beyond the infidelity, Serebrennikov leaves that in limbo until the very end. They are undead in a sterile world anyway.
Serebrennikov stages Mozart at the Komische Oper Berlin: Journey to Hell – Culture
