In “Così Fan Tutte”, Don Alfonso makes a bet with Guglielmo and Ferrando that their fiancées could easily be unfaithful. Disguised, the two men succeed in seducing each other’s fiancée. In Barrie Kosky’s production, the classic opera becomes a “theater within a theater,” cleverly playing with the boundary between reality and performance. By the second act, it becomes impossible to distinguish what is real and what is fiction.
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