All Mozart's operatic production is great, but I don't think I'm wrong if I say that Coyes
fan tutte is one of the most important moments in the production of the Salzburg musician. Using an agile and seemingly irrelevant argument, it is immersed in human weaknesses, in the very weaknesses of men and women, and in a way is a claim for tolerance. The production that AOA brought us could be curious in some ways. But I would certainly highlight his musical ingenuity, especially to conclude that it was a great representation.

It is true that the scenery chosen did not contribute much to the libretto and to the action being developed. It is also true that placing the action, more or less in the belle époque, and introducing characters that have nothing to do with it, like a small actor that goes up and down without a concrete task, does not bring interesting elements to the representation. But at least all these small eccentricities were not as serious as to distort the musical quality of this magnificent opera.

The narcotics had great moments. Xabier Anduaga once again made a big voice display. But, in addition to its immense flow and its great projection, it demonstrated that it has an excellent legato and master the demands of pianissim and refinery required by Mozart's sheet music.

Another night star was Vanessa Goikoetxea, in her role as Fiordiligi. Soprano showed a personal timbre and a song full of nuances. Particularly brilliant was Come scoglio, but maintained a level of quality throughout the representation.

The mezzo Serena Malfi also played a prominent role in Dorabella, but she lacked that glitter of Goikoetxea. It is also worth highlighting
Itziar de Unda's role in Despina, who showed great vocal and interpretative skills.

Oliver Díaz, director of the Basque Orchestra, worked with a personal perspective, perhaps with somewhat slow tempi, but he was not invasive to the singers, nor hindered the quality of the whole.