Born of necessity, the 21st century’s greatest Mozart opera

Merkur critic Markus Thiel is bowled over by Salzburg’s makeshift Cosi fan tutte:

….  this sextet: Marianne Crebassa, a Dorabella between cunning, young girl and dark erotic. Elsa Dreisig, a Fiordiligi, of unconditional (sometimes a little more firm) intensity. Johannes Martin Kränzle, who, as Don Alfonso, is not only a sovereign playmaker, but observes the couples’ goings-on with skepticism, increasing despair and derangement – and all this accompanied by an abundance of vocal nuances. Bogdan Volkov’s cleverly guided, flexible Ferrando tenor and Lea Desandre’s finely lyrical, never beastly Despina belong to this ideal ensemble, as does Andrè Schuen, whose virile voice Guglielmo fluctuates between disbelief and defiance. The fact that they all convey the 130 minutes as truly as if the piece happened for the first time is the miracle of this performance.

Elsa Dreisig, Johannes Martin Kränzle, Marianne Crebassa.© Photo: Monika Rittershaus

Read on here.