By Claire Morley, Associate Manager, Editorial

Setting the scene: In Mozart’s wry comedy, Così fan tutte, two soldiers, Ferrando and Guglielmo, are challenged to test the fidelity of their fiancées, sisters Dorabella and Fiordiligi. Ferrando and Guglielmo disguise themselves and woo the sisters, who, although perfectly aware they are being deceived, nevertheless grapple with strong emotions that make us all wonder: When it comes to the laws of attraction, how much are we really in control of ourselves?

It’s no secret that director Atom Egoyan’s experience lies in exploring characters and stories that are often psychologically probing and can be deeply dark (like his remounting of Salome at the COC this past spring). Although his Così will certainly pose some very serious questions by delving into a close examination of love, fidelity, and what happens when we are tested by these forces, Egoyan is thrilled to explore the comedy in Mozart’s sparkling and beautiful work.

In the months leading up to our brand new winter production of Mozart's Così fan tutte directed by Atom Egoyan, the Toronto Star joined us to explore the many departments that work together to bring a production to life. The result? An entire week's worth of opera school! Watch the videos below to get a glimpse of how the company comes together to create a new production, with a variety of staff members from our props, sets, costumes and wigs department as well as music staff!

By Gianmarco Segato, Adult Programs Manager

Introduction
Like Don Giovanni which came before it, Mozart’s Così fan tutte is identified in its libretto as a dramma giocoso, an Italian term for operas that contain both comic and tragic elements. Conventionally thought of as light, frothy and joyful, Così is also shot through with a decidedly poignant, sad and cynical edge. Our responses are always being played with: the two sisters are clearly devastated when their fiancés must go off to war and the men join in on their sorrow… and yet, we know the latter two are just play-acting. This constant state of ambivalence might partly explain the opera’s difficult critical history.