Flighty and fickle orfaithful and true? Mozartposes this classic questionin his famous comedicopera, a tale involving themisadventures of twosisters and their soldierboyfriends. For thesestarry-eyed young couples,romantic illusions are givena nasty wakeup call whenthey decide to test theboundaries of love, loyalty,and friendship in acomplicated game of“boys vs. girls.”

Director Jonathan Millerset this production in the21st century and designedit to uniquely capture theessenceofWashington,DC.

David M. RubensteinChairman

Michael M. KaiserPresident

Darrell M. AyersVice President, Education

Michael L. MaelExecutive Director

Francesca ZambelloArtistic Advisor

David and Alice Rubenstein are thePresenting Underwriters of WNO.

The Domingo-Cafritz Young Artist Programis made possible through the generoussupport of The Morris and GwendolynCafritz Foundation.

International festivals at the KennedyCenter are generously supported by theHRH Foundation.

Additional support for The Music ofBudapest, Prague, and Vienna is providedby Michael and Noémi Neidorff andThe Honorable Nancy G. Brinker.

International Programming at the KennedyCenter is made possible through thegenerosity of the Kennedy CenterInternational Committee on the Arts.

Support for Washington National OperaEducation Programs is provided byThe Max and Victoria Dreyfus Foundation,Inc.; JPMorgan Chase Foundation; TheMorningstar Foundation; Jacob & CharlotteLehrman Foundation; National Capitol Artsand Cultural Affairs; U.S. Commission ofFine Arts; The Washington Post; WaterfordFoundation; and Verizon.

www.kennedy-center.org/artsedge

Cuesheets are produced by ARTSEDGE, aneducation program of the Kennedy Center.ARTSEDGE is a part of Thinkfinity.org, aconsortium of free educational Web sites forK-12 teaching and learning.

Learn more about Education at The KennedyCenter at www.kennedy-center.org/educationThe contents of this Cuesheet do not necessarilyrepresent the policy of the U.S. Department ofEducation, and you should not assume endorsementfrom the Federal Government.

© 2012 The John F. Kennedy Center for thePerforming Arts

Please recycle this Cuesheet by sharing itwith friends!

THINGS TO THINK ABOUT...� Mozart and Da Ponte chose to subtitle the opera“The School for Lovers.” In what ways does the operaremind you of a “school”? What are the “lessons” ofthe opera?Which characters are the teachers and whichare the students?

� Most operas of Mozart’s day were divided into typesseria (meaning serious or dramatic) or buffa (meaninglight-hearted and funny). Do you think Così fan tuttewas designed as a seria or a buffa piece? Why? Could itbe a combination of both?

� Trickery and disguise are common themes in plays andmovies, particularly in love stories. Why do you think thisis? What different kinds of disguises can you think of?Do you think trickery can be useful? Why or why not?

WHAT TO LISTEN AND WATCH FOR...� How certain characters sing music that sounds“grand” or snobbish, while others stick to lighter,sweeter melodies. What statements do you thinkMozart is making about each character?

� How the director uses modern-day devices andtechnology to tell this 18th-century story. Do these 21st-century gadgets make the story easier to understand?

� How Mozart ends each act with a large ensemble forall of the main characters. How does the finale of Act Idiffer from the finale of Act II?

� Howmusical “sound effects” are used to tell thestory. Do certain instrumental sounds remind you ofsome things in nature such as winds, waves, or humanheartbeats?

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Performances for Young Audiencesis made possible by

Dorabella fends off her new suitoras “Doctor” Despina looks on.

Così antutte

WASHINGTON NATIONAL OPERADRESS REHEARSAL

WOLFGANGAMADEUSMOZART’S

Libretto by Lorenzo Da Ponte Directed by Jonathan Miller Conducted by Philippe Auguin

Così fan tutte or La scuola degli amanti(“Women Are Like That” or “The School forLovers”)marks the final collaboration betweenthe dynamic duo of Wolfgang AmadeusMozart and the Italian clergyman-turned-party boy-turned-poet Lorenzo Da Ponte.Its timeless story draws on a variety of myths,plays, poems, and early operas, but alsooffers some unique twists on older themesof love and fidelity.

ACT I “CLASS IN SESSION”Wily old gentleman Don Alfonso listens assoldiers Ferrando and Guglielmo brag abouttheir respective girlfriends, sisters Dorabellaand Fiordiligi. When the young officers declaretheir sweethearts are the most faithful in theland,Alfonso laughs, sayingnowoman could bethat virtuous. He suggests they bet on it. Thethree hatch a plan: The boys will pretend to gooff to war, then return disguised as mysterious“Albanians”andwooeachother’sgirl.Whoever’sgirl gives in the fastest loses the wager.

Dorabella and Fiordiligi are heartbroken at theidea of being separated from their belovedsoldiers. Still, their sassy chambermaid,Despina, reminds them they don’t have to befaithful, since they can’t expect men to keeptheir promises. Despina suggests the girlsenjoy themselves and have fun while theirmen are away.

With some help from Despina, Don Alfonsopresents his two “Albanian” friends to thesisters. When these exotic strangers pledgetheir instant love to the girls, Fiordiligi andDorabella stand firm, claiming nothing willmake them stray from their boyfriends. Theboys then choose a different approach andswallow fake poison, saying they’d rather diethan be rejected. Despina arrives disguisedas a doctor and the men are revived, but thesisters are disgusted when the Albanians askthem for a “thank you” kiss.

MAIN CHARACTERSDon Alfonso, a gentlemanFerrando, a soldierGuglielmo, a soldierFiordiligi, a wealthy young womanDorabella, her sisterDespina, their maid

ABOUT WOLFGANG AMADEUS MOZARTBoy genius Wolfgang Amadeus Mozart(1756–1791) was born in Salzburg, Austriato a family of musicians (his father wasa well-known composer and his sisterwas an accomplished instrumentalist).A keyboard whiz by age four and acomposer by age five, Mozart traveledand performed throughout much ofEurope, eventually settling in Vienna asa freelance artist. Mozart mastered avariety of musical forms, from concertosto symphonies to operas and beyond,and his unique and unmistakable soundis a trademark of Western music’sClassical era.

ABOUT WASHINGTON NATIONAL OPERAOriginally founded in 1956, WashingtonNational Opera (WNO) ranks as one oftoday’s largest American operacompanies. As an affiliate of the John F.Kennedy Center for the Performing Arts,WNO presents several operas each yearat the Kennedy Center Opera House andperforms throughout the city, offeringtraining and enrichment programsyear-round.

To learn more about opera visitwww.kennedy-center.org/artsedgeand click the tag “opera”

Despina gives Dorabella and Fiordiligia crash course in flirting.

Don Alfonso tells Ferrando and Guglielmothat women are fickle by nature.

ACT II “CLASS DISMISSED”Dorabella and Fiordiligi secretly admit theyfind these strangers rather attractive anddecide to flirt a little. Don Alfonso and Despinaarrange for a romantic rendezvous for thetwo new couples and, though Guglielmosucceeds in winning Dorabella’s affection,Ferrando has no luck with Fiordiligi. Whenthe two soldiers reunite, Ferrando is furiousto hear his Dorabella has betrayed him, andresolves to make Fiordiligi fall for his charms.

Fiordiligi, aware that her resolve is weakening,decides to run away with Dorabella. Beforeshe can do so, however, Ferrando appearsand once more pledges his undying love.Fiordiligi succumbs and agrees to marry him.

The stage is set for a double wedding. But,just as the sisters are about to sign marriagecontracts with their new suitors (issued byDespina, disguised as a notary), a militarymarch is heard. Alfonso breaks the news thatthe soldiers are returning, and Dorabella andFiordiligi scramble to hide their Albanianfiancés.

All six characters face off in one final battleof the sexes. Fingers are pointed, names arecalled, and all sorts of threats are made. Dothings get resolved? Do our four lovers get ahappy ending? You be the judge. La scuola(school) is out for the day!

All photos by Mike Hoban for Royal Opera House

About Mozart’s

Così antutte

Così fan tutte or La scuola degli amanti(“Women Are Like That” or “The School forLovers”)marks the final collaboration betweenthe dynamic duo of Wolfgang AmadeusMozart and the Italian clergyman-turned-party boy-turned-poet Lorenzo Da Ponte.Its timeless story draws on a variety of myths,plays, poems, and early operas, but alsooffers some unique twists on older themesof love and fidelity.

ACT I “CLASS IN SESSION”Wily old gentleman Don Alfonso listens assoldiers Ferrando and Guglielmo brag abouttheir respective girlfriends, sisters Dorabellaand Fiordiligi. When the young officers declaretheir sweethearts are the most faithful in theland,Alfonso laughs, sayingnowoman could bethat virtuous. He suggests they bet on it. Thethree hatch a plan: The boys will pretend to gooff to war, then return disguised as mysterious“Albanians”andwooeachother’sgirl.Whoever’sgirl gives in the fastest loses the wager.

Dorabella and Fiordiligi are heartbroken at theidea of being separated from their belovedsoldiers. Still, their sassy chambermaid,Despina, reminds them they don’t have to befaithful, since they can’t expect men to keeptheir promises. Despina suggests the girlsenjoy themselves and have fun while theirmen are away.

With some help from Despina, Don Alfonsopresents his two “Albanian” friends to thesisters. When these exotic strangers pledgetheir instant love to the girls, Fiordiligi andDorabella stand firm, claiming nothing willmake them stray from their boyfriends. Theboys then choose a different approach andswallow fake poison, saying they’d rather diethan be rejected. Despina arrives disguisedas a doctor and the men are revived, but thesisters are disgusted when the Albanians askthem for a “thank you” kiss.

MAIN CHARACTERSDon Alfonso, a gentlemanFerrando, a soldierGuglielmo, a soldierFiordiligi, a wealthy young womanDorabella, her sisterDespina, their maid

ABOUT WOLFGANG AMADEUS MOZARTBoy genius Wolfgang Amadeus Mozart(1756–1791) was born in Salzburg, Austriato a family of musicians (his father wasa well-known composer and his sisterwas an accomplished instrumentalist).A keyboard whiz by age four and acomposer by age five, Mozart traveledand performed throughout much ofEurope, eventually settling in Vienna asa freelance artist. Mozart mastered avariety of musical forms, from concertosto symphonies to operas and beyond,and his unique and unmistakable soundis a trademark of Western music’sClassical era.

ABOUT WASHINGTON NATIONAL OPERAOriginally founded in 1956, WashingtonNational Opera (WNO) ranks as one oftoday’s largest American operacompanies. As an affiliate of the John F.Kennedy Center for the Performing Arts,WNO presents several operas each yearat the Kennedy Center Opera House andperforms throughout the city, offeringtraining and enrichment programsyear-round.

To learn more about opera visitwww.kennedy-center.org/artsedgeand click the tag “opera”

Despina gives Dorabella and Fiordiligia crash course in flirting.

Don Alfonso tells Ferrando and Guglielmothat women are fickle by nature.

ACT II “CLASS DISMISSED”Dorabella and Fiordiligi secretly admit theyfind these strangers rather attractive anddecide to flirt a little. Don Alfonso and Despinaarrange for a romantic rendezvous for thetwo new couples and, though Guglielmosucceeds in winning Dorabella’s affection,Ferrando has no luck with Fiordiligi. Whenthe two soldiers reunite, Ferrando is furiousto hear his Dorabella has betrayed him, andresolves to make Fiordiligi fall for his charms.

Fiordiligi, aware that her resolve is weakening,decides to run away with Dorabella. Beforeshe can do so, however, Ferrando appearsand once more pledges his undying love.Fiordiligi succumbs and agrees to marry him.

The stage is set for a double wedding. But,just as the sisters are about to sign marriagecontracts with their new suitors (issued byDespina, disguised as a notary), a militarymarch is heard. Alfonso breaks the news thatthe soldiers are returning, and Dorabella andFiordiligi scramble to hide their Albanianfiancés.

All six characters face off in one final battleof the sexes. Fingers are pointed, names arecalled, and all sorts of threats are made. Dothings get resolved? Do our four lovers get ahappy ending? You be the judge. La scuola(school) is out for the day!

All photos by Mike Hoban for Royal Opera House

About Mozart’s

Così antutte

Flighty and fickle orfaithful and true? Mozartposes this classic questionin his famous comedicopera, a tale involving themisadventures of twosisters and their soldierboyfriends. For thesestarry-eyed young couples,romantic illusions are givena nasty wakeup call whenthey decide to test theboundaries of love, loyalty,and friendship in acomplicated game of“boys vs. girls.”

Director Jonathan Millerset this production in the21st century and designedit to uniquely capture theessenceofWashington,DC.

David M. RubensteinChairman

Michael M. KaiserPresident

Darrell M. AyersVice President, Education

Michael L. MaelExecutive Director

Francesca ZambelloArtistic Advisor

David and Alice Rubenstein are thePresenting Underwriters of WNO.

The Domingo-Cafritz Young Artist Programis made possible through the generoussupport of The Morris and GwendolynCafritz Foundation.

International festivals at the KennedyCenter are generously supported by theHRH Foundation.

Additional support for The Music ofBudapest, Prague, and Vienna is providedby Michael and Noémi Neidorff andThe Honorable Nancy G. Brinker.

International Programming at the KennedyCenter is made possible through thegenerosity of the Kennedy CenterInternational Committee on the Arts.

Support for Washington National OperaEducation Programs is provided byThe Max and Victoria Dreyfus Foundation,Inc.; JPMorgan Chase Foundation; TheMorningstar Foundation; Jacob & CharlotteLehrman Foundation; National Capitol Artsand Cultural Affairs; U.S. Commission ofFine Arts; The Washington Post; WaterfordFoundation; and Verizon.

www.kennedy-center.org/artsedge

Cuesheets are produced by ARTSEDGE, aneducation program of the Kennedy Center.ARTSEDGE is a part of Thinkfinity.org, aconsortium of free educational Web sites forK-12 teaching and learning.

Learn more about Education at The KennedyCenter at www.kennedy-center.org/educationThe contents of this Cuesheet do not necessarilyrepresent the policy of the U.S. Department ofEducation, and you should not assume endorsementfrom the Federal Government.

© 2012 The John F. Kennedy Center for thePerforming Arts

Please recycle this Cuesheet by sharing itwith friends!

THINGS TO THINK ABOUT...� Mozart and Da Ponte chose to subtitle the opera“The School for Lovers.” In what ways does the operaremind you of a “school”? What are the “lessons” ofthe opera?Which characters are the teachers and whichare the students?

� Most operas of Mozart’s day were divided into typesseria (meaning serious or dramatic) or buffa (meaninglight-hearted and funny). Do you think Così fan tuttewas designed as a seria or a buffa piece? Why? Could itbe a combination of both?

� Trickery and disguise are common themes in plays andmovies, particularly in love stories. Why do you think thisis? What different kinds of disguises can you think of?Do you think trickery can be useful? Why or why not?

WHAT TO LISTEN AND WATCH FOR...� How certain characters sing music that sounds“grand” or snobbish, while others stick to lighter,sweeter melodies. What statements do you thinkMozart is making about each character?

� How the director uses modern-day devices andtechnology to tell this 18th-century story. Do these 21st-century gadgets make the story easier to understand?

� How Mozart ends each act with a large ensemble forall of the main characters. How does the finale of Act Idiffer from the finale of Act II?

� Howmusical “sound effects” are used to tell thestory. Do certain instrumental sounds remind you ofsome things in nature such as winds, waves, or humanheartbeats?

CuesheetP

ER

FO

RM

AN

CE

GU

IDE

Performances for Young Audiencesis made possible by

Dorabella fends off her new suitoras “Doctor” Despina looks on.

Così antutte

WASHINGTON NATIONAL OPERADRESS REHEARSAL

WOLFGANGAMADEUSMOZART’S

Libretto by Lorenzo Da Ponte Directed by Jonathan Miller Conducted by Philippe Auguin