Last opera from the duo Mozart-Da Ponte, Così fan tutte, closes the trilogy that would change the history of music. Unfortunately it has been remarkably devalued due to her worldliness in opposition to her older sisters (Le Nozze de Figaro and Don Giovanni) which delve with the political, social and religious conflicts of their time. All three however have something in common: the physical desire triggers the actions and as a result, the world at the end is not the same. A structure that gives security -but at the same time suffocatesshatters in the effort to fulfill that desire, and therefore allowing the new to appear.

Among the couples in this play there is an unspoken character: eyes that condition their actions for fear of what they will say. The structure that desire breaks is the body itself, which now begins to hear its impulses. Così fan tutte installs the Revolution among the couples not to achieve a political change, but an individual one.

Operas also have rigidities, both in their content and in the way they are represented. Così fan tutte has suffered like few others the trivialization of its conflict, as if the inertia of sustaining an empty relationship or the need for a life change based on the desires of my body were not something important… Unfortunately, in the sterile habit of reproduction as the only end, the possibilities that revisiting classics give are sadly lost (just as desire is also lost in the routine of a couple).

In this Così fan tutte there is no separation between stage and the audience, who is now immersed in the scenic action and thus becomes this character who sees, but who is also seen, who desires and who is desired. Così fan tutte invites us to listen to our body, to break ourselves and allow the new to appear, on and off the stage.