Cosi Fan Tutte

W.A. MOZART

 

 

 

Performances

• 5 October 1945 - Grand Theatre, Geneva - Danco, Morel, Rehfuss, Chabay; Von Hoesslin
• 22 January 1946 - Teatro Lyrico, Turin - Tegani, Renzi, Morel, Montorri, Molinari; Ackermann
• 29 March 1946 - Teatre de L'Opera, Lyon - Danco, Morel, Papazian, Cortis, Badioli; Ackermann
• 17 April 1946 - T. de la Gaite Lyrique, Paris - Danco, Morel, Papazian, Cortis, Badioli; Ackermann
• 9 November 1946 - Teatro Communale, Bologna - Menotti, Morel, Cortis, Badioli, Papazian; Achermann
• 8 February 1947 - Teatro del Liceo, Barcelona - Bossy, Morel, Cortis, Badioli, Papazian; Achermann
• 17 April 1947 - La Scala - Danco, Menotti, Cortis, Schuh, Munteanu, Ollendorf; Pearla
• 14 January 1949 - Grand Theatre, Geneva - Danco, De Luca, Cortis, Morel, Stabile; Bohm

Recordings

• 14 January 1949 - Grand Theatre, Geneva - Danco, De Luca, Cortis, Morel, Stabile; Bohm

Reviews

• April 1946 "La Signora Simionato as Dorabella, along with an altogether praiseworthy cast, seems to be the best example of a style of singing entirely favourable to the voice's freedom to develop. Her ample mezzo-soprano voice, with dark highlights, isn't afraid of the high notes, while the middle is rich and the low voice is very attractive." Louis Beydts, Opera, April 24, 1946
• April 1947 "Of all the singers onstage, the best acting and the most beautiful voice belonged to Simionato. This is an artist who has been neglected for too long and consigned to secondary roles. She should now be given leading parts." Il Tempo, 1947

Anecdotes

• One of the most important breaks of Simionato's career came in 1945 when one of the winners of the 1934 Florence competition in which she had triumphed, and someone whom she had not seen in the 11 ensuing years, Marisa Morel (Merlo), proposed she leave La Scala where she was only being given small parts and join the Swiss company based at the Grand Theatre in Geneva. Morel wanted Simionato for Dorabella in Cosi. Simionato agreed and the performance met with overwhelming enthusiasm. Simionato received a huge ovation but was too afraid to step out of character and would only take a bow when Morel insisted.
• For the next few years Cosi was a major part of Simionato's repertoire, often alongside the debutante Danco, notably in the Paris performances, where the opera hadn't been seen for thirty years and met with great critical success.
• Driven by this new success she had great hopes of securing roles in Hansel und Gretel, Cosi, and Cenerentola which were all being put on at La Scala in 1947. Despite her rising star she was only given the Dorabella, the rest went to Barbieri. The Cosi was enough however and had the critics baying for the La Scala management's blood for overlooking Simionato for so long, with comments like..."Giulietta Simionato, who we used to strain to see in the last row is now in the front, which is where she belongs." Candido, April 1947, and  the review from Il Tempio given above.
• By the end of the 1940s Simionato success was assured and she left the role of Dorabella in her past, moving on to develop new repertoire more suited to her personality and vocal style.