710:, arrives and asks what is wrong. Dorabella bemoans the torment of having been left alone (aria: "Smanie implacabili"—"Torments implacable"). Despina mocks the sisters, advising them to take new lovers while their betrotheds are away (aria: "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you hope for faithfulness?"). After they leave, Alfonso arrives. He fears Despina will recognize the men through their disguises, so he bribes her into helping him to win the bet. The two men then arrive, dressed as mustachioed Albanians (sextet: "Alla bella Despinetta"—"Meet the pretty Despinetta"). The sisters enter and are alarmed by the presence of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). However, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to remain faithful (aria: "Come scoglio"—"Like a rock"). The "Albanians" continue the attempt to win over the sisters' hearts, Guglielmo going so far as to point out all of his manly attributes (aria: "Non siate ritrosi"—"Don't be shy"), but to no avail. Ferrando, left alone and sensing victory, praises his love (aria: "Un'aura amorosa"—"A loving breath").
818:, presents the marriage contract, which only the ladies sign. (The men, of course, realise that this wedding is a sham, and are only playing along with it in order to teach their unfaithful lovers a lesson.) Directly thereafter, military music is heard in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their way to the house. The "Albanians" hurry off to hide (actually, to change out of their disguises). They return as the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they become enraged. They then depart and return moments later, half in Albanian disguise, half as officers. Despina has been revealed to be the notary, and the sisters realize they have been duped. All is ultimately forgiven, as the entire group praises the ability to accept life's unavoidable good times and bad times.
694:
can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. The scene shifts to the two women, who are praising their men (duet: "Ah guarda sorella"—"Ah look sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and
Guglielmo arrive, brokenhearted, and bid farewell (quintet: "Sento, o Dio, che questo piede è restio"—"I feel, oh God, that my foot is reluctant"). As the boat with the men sails off to sea, Alfonso and the sisters wish them safe travel (trio: "Soave sia il vento"—"May the wind be gentle"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: "Oh, poverini, per femmina giocare cento zecchini?"—"Oh, poor little ones, to wager 100
797:(duet: "Il core vi dono"—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: "Ah, lo veggio"—"Ah, I see it" and Fiordiligi's aria: "Per pietà, ben mio, perdona"—"Please, my beloved, forgive"), so he is enraged when he later finds out from Guglielmo that the medallion with his portrait has been so quickly given away to a new lover. Guglielmo at first sympathises with Ferrando (aria: "Donne mie, la fate a tanti"—"My ladies, you do it to so many"), but then gloats, because his betrothed is faithful.
719:
72:
2563:
844:
784:' overtures (aria: "Una donna a quindici anni"—"A fifteen year old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation will do no harm and will help them pass the time while they wait for their lovers to return (duet: "Prenderò quel brunettino"—"I will take the dark haired one").
260:, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic tendency to drop her chin on low notes and throw back her head on high ones, Mozart filled her showpiece aria "Come scoglio" with constant leaps from low to high and high to low in order to make Ferrarese's head "bob like a chicken" onstage.
676:
668:
729:
The sisters are still pining. Despina has asked Don
Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend
240:
in Vienna on 26 January 1790. It was given only five times before the run was stopped by the death of the
Emperor Joseph II and the resulting period of court mourning. It was performed twice in June 1790 with the composer conducting the second performance, and again in July (twice) and August (once).
693:
In a cafe, Ferrando and
Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he
792:
Dorabella and the disguised
Guglielmo pair off, as do Ferrando and Fiordiligi. The conversation is halting and uncomfortable, and Ferrando departs with Fiordiligi. Now alone with Dorabella, Guglielmo attempts to woo her. She puts up a token resistance, and soon she has given him a medallion (with
805:
Dorabella admits her indiscretion to
Fiordiligi ("È amore un ladroncello"—"Love is a little thief"). Fiordiligi, upset by this development, decides to go to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi finally
224:) to indicate women. It is usually translated into English as "Women are like that". The words are sung by the three men in act 2, scene 3, just before the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had used the line "Così fan tutte le belle" earlier in
806:
succumbs and falls into his arms (duet: "Fra gli amplessi"—"In the embraces"). Guglielmo is distraught while
Ferrando turns Guglielmo's earlier gloating back on him. Alfonso, winner of the wager, tells the men to forgive their fiancées. After all: "Così fan tutte"—"All women are like that".
764:
755:
263:
The subject matter (see synopsis below) did not offend
Viennese sensibilities of the time, but in the 19th and early 20th centuries was considered risqué, vulgar, and even immoral. The opera was rarely performed, and when it did appear it was presented in one of several
513:: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Fiordiligi's aria "Per pietà, ben mio, perdona", act 2, contains a rare instance of clarinets in B-natural (key of the aria is E major which transposes to F major for the clarinet part, explaining the use of B
2290:
763:
738:, demand a kiss from Dorabella and Fiordiligi (whom the "Albanians" call goddesses) who stand before them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to acquiesce.
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1719:
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1712:
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titles and voice categories for these roles has become customary, Mozart was far more general in his own descriptions of the voice types, as shown
241:
After that it was not performed in Vienna during Mozart's lifetime. The first
British performance was in May 1811 at the King's Theatre, London.
2227:
2622:
2177:
1978:
1258:
1181:
1996:
1705:
2257:
2123:
1747:
31:
591:
Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in
1345:
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200:
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1578:
330:
257:
1320:
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458:. Occasionally these voice types are varied in performance practice. Don Alfonso is more frequently performed by
208:
2421:
2217:
2105:
857:
1527:
2548:
2300:
2193:
1987:
1729:
1601:
1165:
814:
The scene begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a
619:
525:
keeps the notation for the B clarinet. There is evidence that some of the clarinet writing was intended for
463:
271:
After World War II it regained a place in the standard operatic repertoire and is now frequently performed.
155:
63:
2502:
2212:
2023:
1917:
1907:
1787:
1329:
1229:
613:
285:
172:
1551:
1515:
1464:
1139:
2207:
1847:
1767:
1355:
253:
428:
346:
71:
1545:
1478:
718:
2607:
2597:
2492:
2267:
2237:
1827:
1807:
1757:
1448:
722:
491:
405:
1412:
2439:
2374:
2367:
2361:
2242:
1947:
1676:
1509:
1472:
602:
521:
510:
479:
147:
494:. Ferrando and Fiordiligi, however, can only be sung by a tenor and a soprano because of the high
2433:
2345:
1668:
1486:
1400:
1301:
1293:
1014:
592:
246:
1887:
1212:
1173:
730:
to pass out. Soon thereafter, a "doctor" (Despina in disguise) arrives on the scene and, using
2409:
2403:
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2041:
1777:
1341:
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941:
371:
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281:
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1563:
1482:
1424:
1392:
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1086:
1031:
1006:
918:
567:
532:
389:
167:
95:
1503:
433:
351:
280:, (also using other music by Mozart) depicting life during the first several months of the
195:, recent research does not support this idea. There is evidence that Mozart's contemporary
2612:
2512:
2247:
2143:
2068:
1957:
1897:
1797:
1684:
1652:
1559:
1520:
997:
540:
526:
475:
276:
196:
1489:, source evaluation (German only), links to online DME recordings; Digital Mozart Edition
1224:
2397:
1151:
731:
563:
553:
410:
265:
2581:
2543:
2469:
2463:
2389:
2014:
1837:
1334:
1305:
815:
735:
695:
633:
597:
471:
1697:
2475:
2451:
2445:
1927:
1570:
1555:
1315:
870:
849:
536:
483:
178:
519:
clarinets). In most modern editions this is made into a part for A clarinets. The
762:
675:
1817:
1644:
885:
658:
571:
237:
204:
159:
151:
124:
1374:
1289:
839:
579:
487:
467:
307:
17:
1217:
1111:
2005:
1428:
1093:, Lecture 8: "The Last Years" (Chantilly, Virginia: The Great Courses, 2000)
1060:
607:
495:
245:
was not performed in the United States until 1922, when it was given at the
2162:
1867:
1660:
1562:; C. Niese. Leipzig: Breitkopf & Härtel. 1898. E.B. 1666 – via
459:
163:
1636:
880:
771:
624:
623:
are also present. Furthermore, it incorporates elements of the myth of
547:
325:
1404:
1297:
1018:
843:
220:
794:
642:
1396:
1010:
1857:
717:
575:
557:
384:
59:
1547:
Così fan tutte = So machen's Alle : komische Oper in 2 Akten
1034:. "Historical Note", Royal Opera House programme, 4 November 1976
1533:
707:
628:
451:
2166:
1701:
1574:
218:, literally means "So do they all", using the feminine plural (
919:[koˈziffanˈtutteosˈsiːalaˈskwɔːladeʎʎaˈmanti,koˈsi-]
734:, is able to revive the "Albanians". The men, pretending to
339:
lady from
Ferrara and sister to Fiordiligi, living in Naples
236:
The first performance of Mozart's setting took place at the
793:
Ferrando's portrait inside) in exchange for a heart-shaped
321:
lady from Ferrara and sister to Dorabella, living in Naples
199:
tried to set the libretto but left it unfinished. In 1994,
474:. Despina is occasionally performed by a mezzo, such as
1377:(Summer 1984). "Notes on the Composition of Mozart's
2521:
2485:
2388:
2354:
2281:
2200:
2135:
2079:
1969:
1736:
1614:
158:. It was first performed on 26 January 1790 at the
109:
101:
91:
81:
41:
1333:
360:Guglielmo (spelled "Guilelmo" by the librettist),
191:was written and composed at the suggestion of the
780:Despina urges them to succumb to the "Albanians
550:– an additional military drum is used on stage.
683:The Singing Sergeants and Concert Band of the
470:and Dorabella is almost always performed by a
2178:
1713:
1586:
1384:Journal of the American Musicological Society
186:
144:Women are like that, or The School for Lovers
136:
86:Women are like that, or The School for Lovers
49:
42:
8:
138:Così fan tutte, ossia La scuola degli amanti
27:Italian-language opera buffa by W. A. Mozart
2351:
2185:
2171:
2163:
1720:
1706:
1698:
1593:
1579:
1571:
991:Collins, Michael B. (June 1997). "Review:
578:(period performance practice often uses a
70:
38:
1558:) (in Italian and German). Translated by
1499:International Music Score Library Project
1174:10.1093/gmo/9781561592630.article.O003389
1091:Great Masters – Mozart: His Life and Work
978:
556:: first violins, second violins, violas,
1630:Così fan tutte pasticcio Coronation Mass
1042:
1040:
295:
1447:: Mozart's autograph manuscript in the
1131:
1129:
934:
907:
1988:Der Hölle Rache kocht in meinem Herzen
1046:
966:
917:
7:
1073:
702:Scene 2: A room in the sisters' home
506:The instrumentation is as follows:
443:Chorus: soldiers, servants, sailors
1748:Die Schuldigkeit des ersten Gebots
185:Although it is commonly held that
25:
2603:Operas by Wolfgang Amadeus Mozart
1997:Dies Bildnis ist bezaubernd schön
298:Roles, voice types, premiere cast
76:Playbill of the first performance
2562:
2561:
2422:Maria Anna Thekla Mozart (Bäsle)
2060:O zittre nicht, mein lieber Sohn
947:Dizionario di pronuncia italiana
842:
760:
673:
2539:Beethoven–Haydn–Mozart Memorial
1225:The Opera Goer's Complete Guide
32:Così fan tutte (disambiguation)
2033:Madamina, il catalogo è questo
1253:. Cambridge University Press.
611:. Elements from Shakespeare's
362:lover of Fiordiligi, a soldier
312:Premiere cast, 26 January 1790
256:, Mozart disliked prima donna
1:
2098:Die Entführung aus dem Serail
1878:Die Entführung aus dem Serail
1197:"Per pietà, ben mio, perdona"
747:Scene 1: The sisters' bedroom
380:lover of Dorabella, a soldier
2623:Libretti by Lorenzo Da Ponte
2448:(paternal great-grandfather)
2291:Concert arias, songs, canons
2051:O, wie will ich triumphieren
1423:, vol. 2, no. 2, article 1.
1417:: Brilliance or Buffoonery?"
1251:W. A. Mozart: Così fan tutte
863:Coronation Mass in C major (
685:United States Air Force Band
51:ossia La scuola degli amanti
2428:Franz Xaver Wolfgang Mozart
2410:Maria Anna Mozart (Nannerl)
756:"Una donna a quindici anni"
2639:
1362:. Oxford University Press.
888:, based on the staging of
873:using reworked music from
825:
801:Scene 3: The sisters' room
455:
258:Adriana Ferrarese del Bene
29:
2557:
2534:Mozart in popular culture
2346:Relationship with G minor
1504:Complete libretto, scores
1411:Whitfield, Sarah (2011),
1290:10.1017/S0954586700002834
1272:(March 1996). "Salieri's
892:in a psychiatric hospital
441:
347:Louise (Luisa) Villeneuve
209:Austrian National Library
114:26 January 1790
69:
58:
2263:Appearance and character
1539:Opera guide and synopsis
858:List of operas by Mozart
450:While the use of modern
314:Conductor: W. A. Mozart
162:in Vienna, Austria. The
2593:Italian-language operas
2549:Mozart Monument, Vienna
2194:Wolfgang Amadeus Mozart
1730:Wolfgang Amadeus Mozart
1534:Internet Movie Database
1429:10.15385/jmo.2011.2.2.1
1336:The Penguin Opera Guide
1278:Cambridge Opera Journal
1166:Oxford University Press
620:The Taming of the Shrew
156:Wolfgang Amadeus Mozart
2442:(paternal grandfather)
2125:The Marriage of Figaro
1918:The Marriage of Figaro
1908:Der Schauspieldirektor
1788:Mitridate, re di Ponto
995:by Bruce Alan Brown".
915:Italian pronunciation:
746:
726:
647:Time: the 18th century
614:The Merchant of Venice
286:Finnish National Opera
274:A comedic adaptation,
187:
137:
50:
43:
1848:Thamos, King of Egypt
1768:Bastien und Bastienne
1321:registration required
979:Brown & Rice 1996
721:
529:due to its low range.
228:(in act 1, scene 7).
2618:Operas set in Naples
2341:Compositional method
2321:Works for solo piano
1979:Canzonetta sull'aria
1828:La finta giardiniera
1808:Il sogno di Scipione
1758:Apollo et Hyacinthus
1449:Berlin State Library
1360:The Operas of Mozart
1228:, 1921 version, pp.
1211:Synopsis taken from
1114:on 17 September 2011
723:Opera in the Heights
669:"Soave sia il vento"
492:Ginger Costa-Jackson
284:was produced by the
30:For other uses, see
2440:Johann Georg Mozart
2375:Neue Mozart-Ausgabe
2368:Alte Mozart-Ausgabe
2024:Là ci darem la mano
1948:La clemenza di Tito
1677:Le cheval de bronze
1516:"Mozart at the Met"
1487:diplomatic editions
1473:Neue Mozart-Ausgabe
1340:. London: Penguin.
1268:Brown, Bruce Alan;
800:
788:Scene 2: The garden
701:
480:Frederica von Stade
300:
232:Performance history
2434:Karl Thomas Mozart
1669:Il turco in Italia
1541:, opera-inside.com
1512:, dlib.indiana.edu
1161:Grove Music Online
1104:"Opera Statistics"
1064:, 7 May 1811, p. 4
1058:"King's Theatre",
727:
421:an old philosopher
296:
247:Metropolitan Opera
226:Le nozze di Figaro
207:by Salieri in the
173:Le nozze di Figaro
2575:
2574:
2404:Anna Maria Mozart
2384:
2383:
2160:
2159:
1778:La finta semplice
1695:
1694:
1552:piano–vocal score
1483:critical editions
1421:Musical Offerings
1260:978-0-521-43735-6
1247:Brown, Bruce Alan
1183:978-1-56159-263-0
1001:. Second Series.
884:, a 1992 play by
869:, setting of the
765:
714:Scene 3: A garden
678:
568:secco recitatives
448:
447:
429:Francesco Bussani
372:Francesco Benucci
331:Adriana Ferrarese
282:COVID-19 pandemic
214:The short title,
193:Emperor Joseph II
133:
132:
54:
16:(Redirected from
2630:
2565:
2564:
2454:(brother-in-law)
2416:Constanze Mozart
2362:Köchel catalogue
2352:
2336:Violin concertos
2187:
2180:
2173:
2164:
2153:
2146:
2128:
2119:
2110:
2101:
2092:
2072:
2063:
2054:
2045:
2036:
2027:
2018:
2009:
2000:
1991:
1982:
1962:
1952:
1942:
1932:
1922:
1912:
1902:
1892:
1882:
1872:
1862:
1852:
1842:
1832:
1822:
1812:
1802:
1792:
1782:
1772:
1762:
1752:
1722:
1715:
1708:
1699:
1595:
1588:
1581:
1572:
1567:
1564:Internet Archive
1524:, 7 January 1952
1506:, opera-guide.ch
1497:: Scores at the
1469:
1408:
1363:
1351:
1339:
1324:
1309:
1264:
1233:
1221:
1209:
1203:
1194:
1188:
1187:
1164:(8th ed.).
1148:
1142:
1133:
1124:
1123:
1121:
1119:
1110:. Archived from
1100:
1094:
1087:Robert Greenberg
1083:
1077:
1071:
1065:
1056:
1050:
1044:
1035:
1032:Peter Branscombe
1029:
1023:
1022:
1005:(4): 1142–1144.
988:
982:
976:
970:
964:
958:
955:
939:
922:
921:
916:
912:
852:
847:
846:
783:
767:
766:
680:
679:
560:, double basses.
518:
517:
498:of their roles.
437:
414:
390:Vincenzo Calvesi
355:
301:
299:
190:
168:Lorenzo Da Ponte
140:
121:
119:
96:Lorenzo Da Ponte
74:
53:
48:
46:
39:
21:
2638:
2637:
2633:
2632:
2631:
2629:
2628:
2627:
2578:
2577:
2576:
2571:
2553:
2517:
2498:Catholic Church
2481:
2478:(sister-in-law)
2472:(sister-in-law)
2466:(sister-in-law)
2460:(mother-in-law)
2380:
2350:
2316:Piano concertos
2277:
2196:
2191:
2161:
2156:
2149:
2144:Da Ponte operas
2142:
2131:
2122:
2116:The Magic Flute
2113:
2104:
2095:
2086:
2075:
2069:Se vuol ballare
2066:
2057:
2048:
2039:
2030:
2021:
2012:
2003:
1994:
1985:
1976:
1965:
1958:The Magic Flute
1955:
1945:
1935:
1925:
1915:
1905:
1898:Lo sposo deluso
1895:
1888:L'oca del Cairo
1885:
1875:
1865:
1855:
1845:
1835:
1825:
1815:
1805:
1798:Ascanio in Alba
1795:
1785:
1775:
1765:
1755:
1745:
1732:
1726:
1696:
1691:
1685:The Mouth Agape
1664:(Salieri, 1789)
1653:Covid fan tutte
1610:
1599:
1560:Eduard Devrient
1544:
1467:
1465:critical report
1437:
1373:
1368:Further reading
1354:
1348:
1328:
1318:
1267:
1261:
1245:
1237:
1236:
1215:
1210:
1206:
1195:
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1184:
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1134:
1127:
1117:
1115:
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1101:
1097:
1084:
1080:
1072:
1068:
1057:
1053:
1045:
1038:
1030:
1026:
990:
989:
985:
977:
973:
965:
961:
949:
940:
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1435:External links
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1397:10.2307/831177
1391:(2): 356–401.
1379:Così fan tutte
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1316:academia.edu
1284:(1): 17–43.
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1116:. Retrieved
1112:the original
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627:as found in
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484:Agnes Baltsa
464:Thomas Allen
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319:Fiordiligi,
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254:William Mann
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179:Don Giovanni
177:
171:
143:
135:
134:
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64:W. A. Mozart
36:
2608:1790 operas
2598:Opera buffa
2503:Freemasonry
2228:Nationality
2208:Biographies
1818:Lucio Silla
1688:(1974 film)
1648:(1996 film)
1640:(1992 play)
1625:discography
1468:(in German)
1375:Tyson, Alan
1216: [
1047:Holden 1997
950: [
886:Louis Nowra
831:discography
736:hallucinate
659:coffeehouse
657:Scene 1: A
603:Shakespeare
576:violoncello
572:harpsichord
432: [
409: [
350: [
337:Dorabella,
266:bowdlerised
238:Burgtheater
160:Burgtheater
152:opera buffa
150:588, is an
125:Burgtheater
82:Translation
2582:Categories
2486:Influences
2331:Symphonies
2218:Grand tour
2213:Birthplace
1728:Operas by
1632:(doubtful)
1510:Full score
1213:Leo Melitz
967:Brown 1995
897:References
867:pasticcio)
822:Recordings
580:fortepiano
488:Ann Murray
468:Bo Skovhus
378:Ferrando,
308:Voice type
268:versions.
118:1790-01-26
92:Librettist
2493:Beethoven
2238:Scatology
2233:Residence
2201:Biography
2006:Dove sono
1306:190738885
1199:, score,
1154:(2002). "
1108:Operabase
1074:Mann 1986
1061:The Times
929:Citations
608:Cymbeline
598:Decameron
593:Boccaccio
511:Woodwinds
496:tessitura
460:baritones
396:Despina,
288:in 2020.
201:John Rice
2567:Category
2412:(sister)
2406:(mother)
2400:(father)
2355:Editions
2243:Smallpox
1868:Idomeneo
1661:La cifra
1479:Libretto
1358:(1986).
1249:(1995).
1118:16 March
836:See also
605:'s play
587:Synopsis
541:trumpets
516:♮
462:such as
402:soprano
343:soprano
205:terzetti
164:libretto
127:, Vienna
110:Premiere
102:Language
2522:Related
2513:Salieri
2326:Sonatas
2136:Related
1615:Related
1532:at the
1470:in the
1445:, act 2
1240:Sources
1138:score,
810:Scene 4
772:Musopen
696:sequins
641:Place:
637:, vii.
625:Procris
554:Strings
548:timpani
326:soprano
116: (
105:Italian
2613:Operas
2418:(wife)
2390:Family
2311:Operas
2306:Masses
2296:Dances
2258:Prague
2253:Berlin
1961:(1791)
1951:(1791)
1941:(1790)
1931:(1787)
1921:(1786)
1911:(1786)
1901:(1784)
1891:(1783)
1881:(1782)
1871:(1781)
1861:(1780)
1851:(1779)
1841:(1775)
1831:(1775)
1821:(1772)
1811:(1772)
1801:(1771)
1791:(1770)
1781:(1769)
1771:(1768)
1761:(1767)
1751:(1767)
1738:Operas
1602:Mozart
1455:
1405:831177
1403:
1344:
1304:
1298:823700
1296:
1257:
1180:
1019:899460
1017:
956:online
942:"cosí"
816:notary
795:locket
643:Naples
582:only).
398:a maid
2508:Haydn
2436:(son)
2430:(son)
2283:Music
2273:Death
2248:Italy
1970:Arias
1858:Zaide
1461:Score
1401:JSTOR
1310:Also
1302:S2CID
1294:JSTOR
1230:55–56
1220:]
1015:JSTOR
998:Notes
954:]
902:Notes
770:From
742:Act 2
652:Act 1
537:horns
533:Brass
456:above
436:]
425:bass
413:]
385:tenor
354:]
304:Role
292:Roles
221:tutte
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