The prospect which was known to have been opened to him in Berlin may have had some effect in causing "Figaro" to be again placed on the stage in August. At the request of the prima donna, Madame Adriana Ferraresi del Bene, who had made her first appearance on October 13, 1788, Mozart wrote the grand air (577 K.).[ 3 ] For Louise Villeneuve he composed, during the following month, three airs for insertion in different operas (578, 582, 583, K.), perhaps with some view to his own new opera, in which Mdlle. Villeneuve was to appear. The approbation with which the revival of "Figaro" was received[ 4 ] no doubt suggested to the Emperor to commission Mozart to write a new opera. "It was not in his power," says Niemetschek (p. 43), "to decline the commission, and the libretto was provided him without consultation of his wishes."[ 5 ] It was "Cosi fan Tutte, osia la Scuola degli Amanti," by Da Ponte.[ 6 ] Mozart was busily engaged on it in December, 1789; and in January, 1790, it is entered in his catalogue as completed; it was first performed on January 26, with the following cast:[ 7 ]—
It appears to have been successful,[ 8 ] although it did not remain long on the repertory.[ 9 ] Unfortunately, we have no detailed information as to the preparation and performance of this opera. Da Ponte's achievement as the writer of an original libretto[ 10 ] serves to show more clearly than ever how much he had hitherto owed to his predecessors. Neither invention nor characterisation are anywhere visible, only a certain amount of dexterity in the handling of his subject.
The plot in its main points is as follows:—
Two young Neapolitan[ 11 ] officers—Ferrando (tenor) and Guillelmo (bass)—who are betrothed to the sisters Dorabella and Fiordiligi, are discovered seated in a café in lively dispute with their friend Don Alfonso, an old cynic, who maintains that their two fiancées would fail under any trial of their constancy. Upon their challenge to make good his words at the point of the sword he retorts with the old proverb, that woman's faith is like the phoenix—never seen.[ 12 ] Each of the lovers COSÌ FAN TUTTE. declares his bride to be the phoenix. At last they agree to a wager. The two lovers promise on their word as officers to do nothing during the next four-and-twenty hours but what they are directed by Don Alfonso, who thereupon undertakes within that time to prove the fickleness of the two maidens. The young men, confident beforehand of victory, determine on celebrating it by a grand banquet in honour of their mistresses.
Fiordiligi and Dorabella are discovered in their garden by the seashore, awaiting the arrival of their lovers and lovingly contemplating their portraits; each declares her lover to be the handsomest and best. Alfonso entering, brings the direful news that Ferrando and Guillelmo have been ordered to proceed at once to the field with their regiment. The lovers enter with melancholy mien to bid adieu, and the two ladies give vent to heartrending expressions of grief and love. The lovers express satisfaction thereat to Don Alfonso, who bids them wait for the end. A military march with a lively chorus is heard in the distance;[ 13 ] the lovers yield themselves to a last fond embrace with sobs and tears, at which Don Alfonso can hardly keep his countenance. The march again summons the officers to depart, and the two ladies join with Don Alfonso in waving their adieux to the retreating bark.
Despina, the waiting-maid of the two ladies, waits for them impatiently with their chocolate.[ 14 ] She is amazed at their entrance in a condition of violent sorrow, which is expressed by Dorabella more especially in high tragic style. Her astonishment increases on hearing the cause, and she advises her mistresses to take the matter easily, and do all they can to divert their thoughts. The serious reproof with which this advice is met is answered by her in a tirade on the fickleness of men in general, and soldiers in particular, whom she declares to deserve no better treatment.
Don Alfonso, in pursuance of his design, now seeks to gain over Despina. A few gold pieces and the prospect of a rich reward speedily gain her promise to admit two friends whom he declares to be madly in love with her mistresses. He at once introduces Ferrando and Guillelmo in the garb of wealthy Albanians, and so disguised by great beards as to be unrecognisable by Despina, who regards them as veritable "antidoto d' amor." While they are ingratiating themselves with the waiting-maid the two ladies enter. Their consternation at the presence of strangers turns to violent indignation when the pretended Albanians proceed without preface to fall on their knees and make declarations of LIBRETTO. love. Don Alfonso, entering to prevent actual scandal, feigns to recognise old friends in the Albanians, and endeavours to act as mediator. The strangers continue their bold suit, but Fiordiligi proudly declares her faith as firm as a rock, and is immovable. The consequence is that upon Guillelmo renewing his entreaties the two ladies decline to hear him out, and make their exit. No sooner are they gone than the two break into loud laughter, which Don Alfonso with difficulty induces them to moderate. The first attack, which was to carry all by storm, has failed, and Don Alfonso retires to concoct a new plot with Despina.
Fiordiligi and Dorabella are again discovered in the garden lamenting bygone happy hours, when the two Albanians rush in. They declare their resolution to take poison, spite of Don Alfonso's earnest dissuasions. Before the eyes of the cruel fair ones they swallow the contents of two vials, and sink in convulsions upon a bank of turf. The two horrified ladies call for Despina, who hurries off with Don Alfonso in search of a doctor, enjoining the ladies to support the sufferers during their absence. This, however, they dare not do, but contemplate the men from a distance in great agitation, which causes intense amusement to the disguised lovers. They gradually come nearer, and begin to express an interest which turns the amusement into disquiet. Don Alfonso returns with Despina, disguised as a doctor, a charlatan of the latest fashion, à la Mesmer, who promises to work miracles by means of magnetism. The terrified maidens are forced to submit to his behests, and to hold the heads of the sufferers, while he magnetises them back to life. Finding themselves in the arms of the fair ones, they begin to rave ecstatically; the ladies, regarding this as the commencement of the cure, allow it to continue, though not without uneasiness, until the patients demand a kiss from them. This rouses the pride of the ladies, and they break into a rage so violent in its demonstrations that the others begin to be doubtful of their sincerity; the first finale closes amid general confusion.
At the beginning of the second act, Despina seeks to reason her ladies out of their exaggerated ideas of constancy and their dread of a love-adventure such as offers itself; she places before them the image of a maiden who treats men lightly for her amusement, and remarks with satisfaction that her words have made some impression. In fact, when the sisters are left alone, Dorabella first declares her inclination to hearken to Guillelmo's suit, and Fiordiligi pronounces herself ready to put the new ideas into practice with Ferrando. In this favourable mood Don Alfonso invites them to a garden-party, where the lovers receive them with a serenade. They now show themselves as bashful and modest as they were formerly urgent and bold; Don Alfonso has to speak for them, Despina answers for the ladies, and reconciliation is sealed by a pressure of the hand. After some general conversation Ferrando and Fiordiligi go off together. Guillelmo expresses himself COSÌ FAN TUTTE. more tenderly to Dorabella, and offers her a valuable gold heart as a gift; she takes it without more ado, declares that she cannot offer him her heart in exchange, since he already possesses it, allows him to loosen Ferrando's portrait from her bosom, and gives way to the tenderest endearments. Ferrando returns with Fiordiligi, who rejects him with apparent severity, but lets it be felt that she is not altogether indifferent to his suit; he ventures upon a tender declaration of love, and, finding it still unheeded, goes out in despair. Left alone, she declares her heart to be affected, but adheres to her resolve to resist the temptation and keep faith with her lover.
