THE CHALLENGES AND LIMITATIONS OF ADAPTING MOZART’S COSÌ FAN TUTTE FOR A SMALL UNIVERSITY SETTING by Christopher Everette Lovely A Dissertation Submitted to the Graduate School, the Coll
Small university music programs often face significant logistical and financial hurdles, especially when staging complex productions like operas Limited resources—such as budget, enrollment, venues, and technical staff—can make it difficult to coordinate singers, instrumentalists, and designers Choosing an opera that aligns with these constraints while still providing valuable student experience is a challenging task Mozart’s *Così fan tutte* stands out as an ideal choice, offering adaptability and feasibility for smaller programs seeking to deliver a rich educational performance.
This dissertation explores the unique challenges and limitations of adapting a full-scale opera for production within a smaller university setting, emphasizing the logistical, artistic, and educational constraints involved Drawing from firsthand experience as a Korepetitor and Vocal Coach, the research provides practical insights into the rehearsal process, vocal preparation, and collaborative dynamics essential for successful execution in an academic environment.
Accompanist for The University of Southern Mississippi’s spring 2014 production of
Così fan tutte 1 This document not only discusses the challenges and limitations smaller
1 John Rosselli, Thomas Bauman, Barry Millington, David Charlton, Curtis Price, and John Cox
The term *korepetitor*, commonly used in German opera houses and theatres, refers to a coach or collaborative pianist who plays a vital role in rehearsal processes When producing Mozart’s *Così fan tutte*, smaller music programs may encounter challenges, but innovative strategies can help scale the production while maintaining artistic integrity Key aspects such as the roles of the production team, the rehearsal and delivery of recitative, and effective rehearsal scheduling are crucial to success A comparative analysis of nine smaller universities’ productions of *Così fan tutte* reveals that with thoughtful adaptation and resourceful planning, even modest programs can deliver high-quality performances that deeply engage students both musically and culturally.
Così fan tutte – Mozart’s Last Comic Opera
Wolfgang Amadeus Mozart, born in 1756 in Salzburg, Austria, was a musical prodigy shaped by the Enlightenment ideals of reason, structure, and symmetry that dominated Germany and Austria during his time Raised in a patriarchal society where fathers held authority and women were relegated to subservient roles, Mozart's upbringing and compositions reflected the era's emphasis on morality, self-discipline, and the tension between man and nature These philosophical and cultural influences are evident in both his personal life and his operatic works, as noted by scholars Baughman and Millington in the Grove article.
“Responsibility for preparing the solo numbers of individual singers was often delegated to a Korepetitor, normally the leading violinist of the opera orchestra.”
Mozart composed the score for *Così fan tutte* in 1789, collaborating with librettist Lorenzo Da Ponte The opera debuted at Vienna’s Burgtheatre on January 26, 1790, enjoying initial success until the theatre closed following Emperor Joseph II’s death Under Emperor Leopold’s reign, the production resumed briefly before being removed from the repertoire *Così fan tutte* later gained popularity across European cities such as Frankfurt, Mainz, Prague, Leipzig, and Dresden, eventually reaching global audiences after Mozart’s death Its American premiere took place in New York in 1922, marking its expansion beyond central Europe.
Nathan Brodor’s book Wolfgang Amadeus Mozart: Così fan tutte says the following about nineteenth-century critics’ responses to Da Ponte’s work:
Critics during the Romantic era dismissed Da Ponte’s plot as unrealistic and were particularly troubled by what they perceived as a frivolous portrayal of love in his libretto In response, numerous efforts were made to revise the work, often resulting in significant alterations to Mozart’s original score to align with more morally uplifting narratives.
Although critical acclaim for the opera has waned over time, it has experienced a resurgence in popularity over the past century, becoming a versatile and widely appreciated work among mainstream audiences and educational institutions alike.
The Mozart-Da Ponte Connection
In 1781, Mozart's extraordinary musical talent led him to Vienna, where he secured a position at the prestigious Imperial Court Theatre under Emperor Joseph II Unlike other court artists, he chose not to live within the Imperial Court, instead residing independently in Vienna for a brief period, immersing himself in the city's vibrant cultural scene.
2 Nathan Broder, Wolfgang Amadeus Mozart: Così fan tutte, New York: G Schirmer, 1952, Preface
During his time in Vienna, he met Lorenzo Da Ponte and found success in the emerging genre of opera buffa, or comedic opera Gaining popularity across Italy and Europe in the eighteenth century, opera buffa became a dominant form in Vienna by the 1760s, nearly replacing opera seria between 1770 and 1780 Its appeal continued into the 1790s, driven by politically themed narratives, expressive musical styles, and ensemble-driven finales Unlike opera seria, it featured fewer melismas and spotlighted the basso buffo as the leading vocal role instead of the traditional castrato, making it an ideal artistic match for Da Ponte.
Mozart The duo’s popularity was sealed thanks to three of their major collaborative works: Le Nozze di Figaro, Don Giovanni, and Così fan tutte
Born in 1749, Da Ponte arrived in Vienna in late 1781 or early 1782 at the recommendation of his mentor Caterina Mazzolà, court poet in Dresden Heartz states,
In the spring of 1782, Da Ponte gained recognition from the esteemed poet Metastasio through his work *Filemone e Bauci*, though Metastasio passed away shortly after their meeting That same year, Emperor Joseph II sought to revitalize Vienna’s opera scene by recruiting an Italian buffo troupe, prompting the need for a skilled Italian librettist to refine and publish their works Da Ponte was selected for this role, and by the following year, he was officially appointed as the court poet for the Italian theater, marking the beginning of his influential career in Vienna’s operatic landscape.
4 Piero Weiss and Julian Budden "Opera buffa." Grove Music Online http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000043721 (accessed June 22, 2018).
5 Daniel Heartz, Mozart’s Operas, Berkeley: University of California Press, 1990,97-98
6 Christoph Wolff, Mozart at the Gateway to His Fortune, New York: W W Norton & Co.,
Although Da Ponte was not initially hired to replace Metastasio, the latter’s death ultimately secured his position Arriving in Vienna without an official appointment and with limited connections—aside from a recommendation to Antonio Salieri—Da Ponte quickly rose through the ranks Within a year, he had established himself as the Poet to the Imperial Theatres, a prestigious and influential role in the cultural landscape of the time.
A popular opera during that time was Il barbiere de Siviglia by Giovanni
Paisiello’s opera, which premiered in 1782, was based on the first of three plays by French playwright Pierre Beaumarchais and later served as the foundation for Mozart and Da Ponte’s *Le Nozze di Figaro* To gain approval from Emperor Joseph II, Da Ponte assured that the original play’s controversial content had been removed Although the opera initially struggled to gain popularity in Vienna, it was met with great acclaim in Prague, significantly boosting demand for Mozart’s compositions.
Mozart was commissioned to write another opera This time it was Da Ponte who had the pertinent suggestion of revisiting the centuries old tale of Don Juan, thus inspiring Mozart to compose the score for Don Giovanni The opera blurred conventional boundaries between comedy and drama, creating a greater maturity and intensity to the score 9
The third and final collaboration between Da Ponte and Mozart was Così fan tutte Based on early evidence from Georg Nikolaus von Nissen (the second husband of
Mozart’s widow, Constanze), it was rumored that Emperor Joseph II suggested the topic to Mozart 10 Even with this evidence, its origins are still uncertain Da Ponte had already
7 Andrew Steptoe, The Mozart-Da Ponte Operas, Oxford: Clarendon Press, 1988, 100
8 Robert Garratt, “The Relationship Between Mozart and Lorenzo Da Ponte,” The National https://www.thenational.ae/arts-culture/the-relationship-between-mozart-and-lorenzo-da-ponte-
Da Ponte originally wrote a libretto titled *La Scuola degli Amanti* (The School for Lovers) intended for Salieri, which he later referenced in his memoirs as the “third place among the sisters,” alluding to a trilogy of collaborations involving Mozart Although Mozart’s *Così fan tutte* remains the most renowned version, historical evidence indicates that Da Ponte and Salieri briefly collaborated on the work, highlighting a lesser-known chapter in operatic history.
Antonio Salieri composed music for the first two terzetti of the opera's opening scene, but due to pressing administrative responsibilities and seasonal deadlines in 1789–90, the remaining work was handed over to Wolfgang Amadeus Mozart Historical insights, including an 1829 interview with Constanze Mozart conducted by Novellos, indicate that while Salieri showed interest in scoring *La Scuola degli Amanti*, he never formally committed to the project.
Set in 18th-century Naples, this two-act opera follows Don Alfonso, a cynical philosopher, who seeks to prove that women are inherently unfaithful by testing the loyalty of his young friends’ fiancées, Fiordiligi and Dorabella With the help of the maid Despina, he orchestrates a deceptive scheme: Guglielmo and Ferrando pretend to leave for military duty, only to return disguised as Albanian suitors attempting to seduce each other's partner Despite initial resistance, the women eventually give in, validating Don Alfonso’s theory In the end, the truth is revealed, and the couples reconcile, highlighting themes of love, deception, and human vulnerability.
The collaboration between Mozart and librettist Lorenzo Da Ponte played a pivotal role in refining the opera buffa genre, elevating its dramatic and musical sophistication Beyond this partnership, Mozart's mastery of sonata form—particularly evident in the finales of his operas—demonstrated his deep engagement with Viennese classical traditions, blending structural elegance with emotional depth to shape the future of operatic composition.
17 Quaintance Eaton, Opera Production, Minneapolis: University of Minnesota Press, 1961, 48
While scholars have extensively analyzed Mozart’s use of sonata form in the larger ensembles of his operas, a more crucial structural element lies in his technique of alternating between periods of dramatic action and lyrical expression, particularly evident in the development of his act-finales.
Mozart emerged at a pivotal moment in theatrical history, when the spontaneous improvisation of commedia dell’arte transitioned into structured, literary performances with defined plays and librettos This cultural shift aligned perfectly with the evolving sonata style, offering Mozart fertile ground to explore new dramatic possibilities and revolutionize musical storytelling.
Stock characters, commonly seen in commedia dell’arte—a popular form of improvised Italian theatre from the sixteenth to eighteenth century—are stereotypical figures that embody societal roles This theatrical tradition relied heavily on stock elements, including characters that represented various social classes, particularly the upper class, and were adapted to suit diverse performance scenarios.
In classical opera, character names often signified social status, with suffixes like “–i,” “–o,” or “–a” denoting nobility, while “–ina” indicated lower-class roles For example, Fiordiligi, Dorabella, Ferrando, Guglielmo, and Don Alfonso represented upper-class figures, whereas Despina, the servant girl, embodied the lower class These stock characters were intentionally exaggerated to highlight societal themes, particularly issues of gender and class, making opera a powerful medium for social commentary.
In the Act I Finale of Mozart’s *Così fan tutte*, Despina appears in disguise as a doctor, using a magnet to theatrically “heal” the lovesick suitors of Fiordiligi and Dorabella This scene exemplifies the opera’s playful use of stock characters, a technique that, as Broder notes, reinforces the comedic structure and highlights the exaggerated emotional states of the protagonists.
19 Charles Rosen, “The Classical Style: Haydn, Mozart, Beethoven,” New York: W W Norton and Co., 1997, 313
20 Natalie Crohn Schmitt, “Commedia dell’arte: Characters, Scenarios, and Rhetoric,” from Text and Performance Quarterly, 24:1 (Winter 2004); 55-73 From: Commedia dell’Arte: A Handbook for
Troupes By John Rudlin and Olly Crick London/New York: Routledge, 2001; pp ix–251
Opera, as explored by scholars such as Howard Mayer Brown, Ellen Rosand, and Roger Parker, is a multifaceted art form that integrates music, drama, and visual spectacle to convey powerful narratives Its evolution from early Baroque experiments to grand Romantic productions reflects shifting cultural and aesthetic values across Europe The genre’s development was shaped by innovations in vocal technique, orchestration, and staging, with composers and librettists collaborating to create immersive experiences Today, opera remains a vital part of global musical heritage, celebrated for its emotional depth and artistic complexity [[0]](https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040726).> [0] [No title](https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040726)
In Act I Finale, Scene 16 of Mozart’s *Così fan tutte*, Despina makes a dramatic entrance disguised as a doctor during the Allegro section (measures 292–427) As the scene transitions into the Andante (measures 429–484), she theatrically administers a mysterious “potion” or “poison” to Ferrando and Guglielmo, intensifying the comic deception According to staging directions from the Schirmer edition (page 163), this moment marks Despina’s pivotal role in the unfolding intrigue of SCENA XVI.
Unlike their work in *Figaro* and *Don Giovanni*, where Mozart and Da Ponte crafted vivid, relatable characters, this particular opera focused on delivering a lighthearted narrative using a limited cast of stock figures Their aim was not to portray complex human emotions, but rather to entertain through a charming and whimsical storyline, making the use of archetypal roles both intentional and effective.
Characters were not treated merely as staged actors; rather, they played significant roles in the opera by representing the social classes, and more often than not, it was the servants who were the smartest individuals Mozart used a servant in Figaro to outwit the nobility, and he presents a similar situation with Così fan tutte, as Don Alfonso enlists Despina’s help in carrying out his plot The table below gives a basic overview of the characters
CHARACTER VOICE TYPE ROLE DESCRIPTION RANGE
Fiordiligi Soprano Major Many florid and dramatic passages with extremely high and low range; wide skips
Dorabella Soprano or flexible Mezzo
Major Guglielmo’s fiancé D4 to Ab5
Don Alfonso Bass Supporting Buffo Bass (Bachelor) A2 to E3
Despina Soprano Supporting Soubrette C4 to B5
Ferrando Lyric Tenor Major Fiordiligi’s fiancé D3 to Bb4 Guglielmo Baritone Major Dorabella’s fiancé A2 to F4
Chorus Varies Supporting Soldiers Varies
Chorus Varies Supporting Servants Varies
Chorus Varies Supporting Sailors Varies disguised as a doctor.) Also, in the USM production a cut was made from measures 457-472, due to repetitious musical material
23 Broder, Wolfgang Amadeus Mozart: Così fan tutte, Preface
Fiordiligi and Dorabella are two devoted women, engaged to Guglielmo and Ferrando respectively, whose loyalty is tested in Mozart’s opera *Così fan tutte* The plot thickens as Don Alfonso, a skeptical philosopher, joins forces with the cunning maid Despina to orchestrate a deceptive experiment aimed at exposing the supposed fickleness of women.
Successfully staging an opera demands meticulous preparation from the entire production team, with a deep understanding of its essential components to ensure a thoughtful and engaging performance The adaptability of *Così fan tutte* makes it a compelling choice for diverse interpretations, allowing directors to tailor presentations that resonate with modern audiences while preserving the opera’s artistic integrity.
Modern productions of *Così fan tutte* typically feature up to seven sets and run approximately 80 minutes for Act I and 70 minutes for Act II With minimal staging hazards and no dance requirements, the opera is highly accessible, relying on strong vocal and instrumental performances Principal roles demand expressive yet tuneful vocal lines, while chorus and ensemble parts remain approachable for singers Flexible orchestration options include a full orchestra, a reduced ensemble with piano, or even a piano-only arrangement for intimate settings Recommended publishers for the score include G Schirmer, Ernst, Eulenburg, Bärenreiter Urtext, and Dover, with Bärenreiter Urtext often considered the most suitable edition.
Bọrenreiter Urtext, because it is proven to be the original, or earliest, version of the work, to which later versions may be compared 24
24 Nicholas Ivor Martin, “Così fan tutte: Women Are Like That,” The Opera Manual, Lanham: The Scarecrow Press, 2014, 74
Auditions for the University of Southern Mississippi’s 2013 production of *Così fan tutte* took place in the spring semester, followed by rehearsals in the fall The production featured a rare triple casting of principal roles, with the exception of Don Alfonso, who was double-cast This ensemble of college students stood out for their remarkably mature vocal abilities, an uncommon trait in a small university setting Their commitment to healthy vocal technique further enhanced the educational value of the experience, making the production both artistically and academically enriching.
Translators play a crucial role in bridging linguistic and cultural gaps, requiring deep knowledge of both the source and target languages as well as their respective cultures Accurate translation demands careful word choice to preserve meaning and intent Similarly, performers must grasp not only the literal meaning of lyrics but also the emotions and narratives they convey When the entire cast and crew are well-informed, the story is communicated more effectively, enhancing audience engagement and understanding.
Multiple reputable publishers—including G Schirmer, Ernst, Eulenburg, Dover, Faber, and Kalmus—offer translations of *Così fan tutte*, each derived from the authoritative Bärenreiter Urtext edition Recognized for its accuracy and scholarly integrity, the Bärenreiter Urtext stands as the most reliable source for performers and researchers seeking a faithful representation of Mozart’s original work.
Bärenreiter Urtext editions are exclusively reserved for scholarly critical editions or those directly based on them, ensuring the musical text reflects the latest research and is crafted by internationally acclaimed experts These editions follow strict editorial standards and remain free from any unauthorized or subjective additions, offering musicians and scholars a reliable and authentic source.
Other editions, such as Ricordi, include an additional aria for Guglielmo in Act I, Scene
3, “Rivolgete a lui lo sguardo.” In this aria, Guglielmo describes the passion he and Ferrando have for their fiancés Comparing himself to a variety of classical figures, he
Mozart initially composed an aria that praised the uniqueness of a man from Vienna to Canada, but later reconsidered its tone and replaced it with the more casual “Non siate ritrosi.” This change likely reflected a desire to better align the music with the character Guglielmo’s temperament, showcasing Mozart’s sensitivity to dramatic nuance and character development in his operatic compositions [[0]](https://www.baerenreiter.com/en/publishing-house/introduction/).> [0] [No title](https://www.baerenreiter.com/en/publishing-house/introduction/)
The G Schirmer edition, selected for the USM production of *Così fan tutte*, is a cost-effective choice known for its reliable translation and minimal errors Established in 1861 by Gustav Schirmer, the company remained under family ownership for over a century before being acquired by MacMillan in 1968 and later merging with Hal Leonard Music in 1986 While this edition may contain some printing inaccuracies, performers can rely on an available errata sheet to ensure a precise and faithful rendition of the opera.
Original Language or English (Native Language of the Singers)
Così fan tutte can be performed in languages other than Italian, with Italian and English being the most common choices Translating opera requires meticulous attention, as subtle shifts in meaning and perception may arise when moving from Italian to English The selection of performance language often depends on the audience, and while opera patrons can be discerning, many are receptive to productions in non-native tongues.
Mozart’s operatic arias, as described by Mary Hunter, are melodious solo pieces enriched with elaborate accompaniment, varying in length from under a minute to over ten These arias range from virtuosic showcases to simple expressions, serving as introspective soliloquies or direct addresses to other characters While some maintain a consistent emotional tone, others drive the narrative forward by reflecting shifts in the character’s physical or psychological state Notably, despite these transformations, the musical structure of the aria typically remains unchanged, preserving its core identity throughout.
Mozart’s approach to composing arias began with the text, which he carefully negotiated with his librettist to ensure dramatic and emotional impact Once finalized, the text influenced key compositional decisions, including the aria’s length, structure, and psychological progression Composers like Mozart paid close attention to consistency and dramatic flow, crafting arias that ranged from just a few lines to as many as thirty, depending on the expressive needs of the scene.
Generally, most aria texts tend to be within these extremes in length However, shorter texts do not lessen the length of an aria Text repetition was a key trait of
Mozart’s arias Composers made the final choice of arrangements and repetitions; these
50 Ibid arrangements were mostly dependent upon conventions of the day, as well as the question of which arrangements expressed the clearest dramatic meaning 51
During the eighteenth century, opera evolved into two distinct genres: opera seria and opera buffa Opera seria focused on dramatic narratives and tragic themes, often portraying noble characters and moral dilemmas In contrast, opera buffa embraced humor and satire, using comedic plots to explore social and political issues of the time.
Opera seria and opera buffa each showcased distinct types of arias, reflecting their unique stylistic characteristics In opera seria, Hunter identifies several key aria forms: the aria di bravura, known for its virtuosic display; the aria cantabile, which emphasizes lyrical, song-like qualities; the aria parlante, marked by its declamatory style; the Rondò, a dynamic aria that transitions from slow to fast tempos while revisiting its opening section; and the cavatina, a brief, melodious aria typically performed at a slow to moderate pace.
Opera seria arias were defined by vocal style, with aria di bravura showcasing virtuosic technique, aria parlante conveying intense emotion like rage, and cantabile expressing sincere tenderness In contrast, comic opera arias were categorized by the singer and their dramatic context, with the buffo aria—typically performed by a bass or tenor—highlighting buffoonish traits through proud or knowledgeable text, speech-like delivery, and rapid patter filled with repeated notes These comic arias often engaged directly with the audience or other characters onstage.
Buffo arias would have several tempos, culminating in an ending that was delivered as fast as the singer could sing 54
The “serving girl” aria, a popular comic style in eighteenth-century opera, featured melodies that blended cantabile and buffo elements—more integrated but less emotionally rich than traditional cantabile arias These arias typically portrayed lower-class female characters, such as servants or peasants, expressing desires for material gifts, obedience from men, and hopes for social mobility Often, the lyrics offered humorous advice on handling men, suggesting they be treated as conveniences rather than necessities A quintessential example is Despina’s “Una donna a quindici anni” from Mozart’s *Così fan tutte*, which encapsulates the wit and social commentary of this aria type.
Rehearsing an aria with piano accompaniment presents subtle differences compared to orchestral accompaniment, yet these nuances are significant for vocalists The core of effective rehearsal lies in the singer mastering their melodic line and understanding the precise moments to apply ornamentation, provided they possess the technical skill to do so.
Rehearsing with a piano differs significantly from rehearsing with a full orchestra, particularly when the pianist cannot replicate specific instrumental lines, such as those written for the oboe or flute Key melodic passages assigned to prominent orchestral instruments may be omitted during piano rehearsals, making it essential for singers to thoroughly understand the full orchestral accompaniment of their aria to ensure a confident and accurate performance.
Arias present a notable challenge for college students new to vocal performance, making regular and early rehearsal essential While inexperience may seem like a barrier, motivated students who dedicate time to practice can quickly overcome it However, mastering vocal technique is crucial to prevent performance issues and ensure successful singing outcomes.
One such challenging aria is Fiordiligi’s “Come Scoglio.” The awkward leaps can be problematic if a young singer has not gained a solid understanding of vocal technique