Così fan tutte (or maybe not?)

«È the faith of females
like the phoenix:
whether it is there, each says so;
where it is, no one knows».

Is fidelity in love feasible? Is there such a thing as authentic and satisfying monogamy or is it just a concept of emotional relativity? It lives with similar questions Così fan tutte  (1790), the feminine (or anti-feminist, depending on one's point of view) part of the Mozart-Da Ponte trilogy. With Medea (Luigi Cherubini, 1797) everything seems to have changed: betrayed love becomes revenge, to produce the most intolerable pain. L’elisir d’amore (Donizetti, 1832) proposes it as a “fable” in which good triumphs in the end after being put to the test, but it is precisely through the test that the true nature of people emerges and feelings mature.

The Gruppo Fiati Musica Aperta, founded in 1976 by Pieralberto Cattaneo, has been a guest of important Italian concert seasons, making a name for itself on numerous tours in Austria, Belgium, Croatia, France, Germany, Yugoslavia, Malta, the Czech Republic, Slovakia, Slovenia, the USA and Brazil. He recorded an LP of unpublished sacred and chamber music by G. Donizetti and G.S. Mayr. He also works in the field of contemporary music, with world premieres in concerts broadcast several times by RadioTre and German Radio and on two CDs recorded for TGE.