Così fan tutte, or The School for Lovers, is the last joint opera buffa by Mozart and Da Ponte. The libretto and score were written in a month in December 1789, and the premiere took place at the end of January 1790, but the death of the Emperor interrupted the run after five performances. This Neapolitan-style comedy (the action is set in Naples!), but very much inspired by French comic opera, and in particular by Femmes Vengées composed by Philidor in 1775 to a libretto by Sedaine (which was performed in Vienna), where two women wanting to teach their husbands a lesson exchange their roles by cross-dressing… in order to seduce them and confuse them better! Twenty years later, Mozart and Da Ponte found exceptional inspiration for this comedy of manners in the spirit of Marivaux, where love, beauty and cruelty are subtly intertwined, until all hell breaks loose for some anthological moments!
Don Giovanni was commissioned by the Prague Opera immediately after the success of The Marriage of Figaro: Mozart and Da Ponte wanted to build on their success and chose a subject that had triumphed just a few weeks earlier in Venice, a Don Giovanni composed by Giuseppe Gazzaniga. Revisiting the theme of the Seville Cheat – a prevalent subject in theatre since the mid-17th century, especially through Molière’s powerful incarnation, and in a ballet by Gluck in Vienna in 1761 – Da Ponte focused the work on the libertine character of Don Juan, no doubt drawing inspiration from his friend Casanova (who in fact helped make changes to Act 2, Scene 9, and attended the Prague première).
Le Nozze di Figaro marked the beginning of Mozart’s collaboration with Da Ponte. At the premiere in 1786, the success was mixed in Vienna, but Prague was enthusiastic about this love imbroglio set in Seville, where the Countess and Suzanna play cat and mouse with the gentlemen, to avoid the Count’s designs on his maids… Figaro undertakes to set this little world to rights, to confound his Master while preserving the Countess’s affair with Cherubino. An infernal machine launched at full speed, which allows Mozart to produce arias of great beauty, an exceptionally determined Figaro, and reversals of situation which are the subject of brilliant ensemble numbers at the end of each act. Exhilarating!