German Opera

Composer: Wolfgang Amadeus Mozart Librettist: Christoph Friedrich Bretzner, revised by Gottlieb Stephanie, Jr. Premiere: 16 July 1782, Vienna (Burgtheater) Language: German Subtitles: German, English, Italian, French, Russian, Spanish (Click on CC for the subtitles) Synopsis: https://www.opera-arias.com/mozart/die-entf%C3%BChrung-aus-dem-serail/synopsis/ Cast & Characters: Lenneke Ruiten: Konstanze, betrothed to Belmonte: Mauro Peter: Belmonte, a Spanish nobleman Sabine Devielhe: Blonde, Konstanze's English maid Maximilian Schmitt: Pedrillo, Belmonte's servant Tоbias Kexrer: Osmin, overseer for the Pasha Cornelius Obonya: Bassa Selim, the Pasha (spoken role) Marco Merlini: Mute Servant Teatro alla Scala Orchestra & Chorus Conductor: Zubin Mehta Stage Director: Giorgio Strehler Stage Designer: Luciano Damiani Die Entführung aus dem Serail (K. 384; The Abduction from the Seraglio; also known as Il Seraglio) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie, based on Christoph Friedrich Bretzner's Belmont und Constanze, oder Die Entführung aus dem Serail. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of the Pasha Selim. The work premiered on 16 July 1782 at the Vienna Burgtheater, with the composer conducting. Die Entführung aus dem Serail is in the genre of "Singspiel", thus the music lacks recitatives and consists entirely of set numbers. The company that first sponsored the opera was the Nationalsingspiel ("national Singspiel"), a pet project (1778–1783) of the Austrian emperor Joseph II. The Emperor had set up the company to perform works in the German language (as opposed to the Italian opera style widely popular in Vienna). This project was ultimately given up as a failure, but along the way it produced a number of successes, mostly a series of translated works. Mozart's opera emerged as its outstanding original success.

A 1995 ZDF / 3sat Production of Mozart's Opera "Don Giovanni', performed by The Salzburg Marionette Theater and presented by Sir Peter Ustinov. Voices: Don Giovanni - Cesare Siepi Donna Anna - Birgit Nilsson Donna Elvira - Leontyne Price Don Ottavio - Cesare Valletti Leporello - Fernando Corena Zerlina - Eugenia Ratti Masetto - Heinz Blankenburg Il Commendatore - Arnold van Mill Wiener Philharmoniker Conductor: Erich Leinsdorf

Composer: Wolfgang Amadeus Mozart Librettist: Emanuel Schikaneder Premiere: 30 September 1791, Vienna Language: German Subtitles: English, Italian (Click on CC) Synopsis: https://www.opera-arias.com/mozart/die-zauberflote/synopsis/ Cast & Production: Tamino - Nicolai Gedda Papageno - William Workman Königin der Nacht - Cristina Deutekom Sprecher - Dietrich Fischer-Dieskau Pamina - Edith Mathis Sarastro - Hans Sotin Papagena - Carol Malone 1er Geharnischter - Helmut Melchert 2er Geharnischter - Kurt Moll Hamburgische Staatsoper Orchestra & Chorus Conductor: Horst Stein Stage Director: Peter Ustinov rec. 1971 The Magic Flute (German: Die Zauberflöte) is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form during the time it was written that included both singing and spoken dialogue. The work premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's death. It was the last opera that Mozart composed. The opera was an outstanding success from its first performances, and remains a staple of the opera repertory to this day. The libretto for The Magic Flute, written by Schikaneder, is thought by scholars to be based on many sources. Some works of literature current in Vienna in Schikaneder's day that may have served as sources include the medieval romance Yvain by Chrétien de Troyes, the novel Life of Sethos by Jean Terrasson, and the essay "On the mysteries of the Egyptians" by Ignaz von Born. The libretto is also a natural continuation of a series of fairy tale operas produced at the time by Schikaneder's troupe. Especially for the role of Papageno, the libretto draws on the Hanswurst tradition of the Viennese popular theatre. Many scholars also acknowledge an influence of Freemasonry. The Magic Flute appears to have two references to the music of Antonio Salieri. The first is that the Papageno–Papagena duet is similar to the Cucuzze cavatina in Salieri's Prima la musica e poi le parole. Both are centred around musical-textual playfulness with humorous bird-like utterances of pseudo-Italian words.he Magic Flute also echoes Salieri's music in that Papageno's whistle is based on a motif borrowed from Salieri's Concerto for Clavicembalo in B-flat major. Die Zauberflöte Synopsis ACT I: Prince Tamino is rescued from a monster by the Three Ladies of the Queen of the Night, but the birdcatcher Papageno takes the credit. As a punishment for lying, the Ladies padlock his mouth. They then give Tamino a painting of the Queen's abducted daughter Pamina. Falling in love with her image, he sets out to rescue her. The Queen promises that if he succeeds, she will agree to their marriage. Tamino is given a magic flute, Papageno some magic bells, and together they journey to Sarastro's palace, where Pamina is being held. Papageno's blundering arrival inadvertently saves Pamina from being attacked by Monostatos, a moor in the service of Sarastro. Papageno and Pamina leave in search of Tamino, who has arrived at a temple whose priest informs him that it is the Queen and not Sarastro who is evil. Papageno and Pamina are confronted by Monostatos and his slaves, but, using the bells, they manage to escape. Pamina and Tamino finally meet, and immediately fall in love. ACT II: Tamino and Papageno are told they have to undergo a series of trials if they are to be accepted into the brotherhood of the temple. The first being a period of silence. While Pamina is asleep, Monostatos again approaches, but is warded off by the Queen, who gives her daughter a dagger and tells her that she can only regain her power if Sarastro is killed. Monostatos is once more forcing himself on Pamina when Sarastro enters. He knows of the Queen's plans but reminds Monostatos that the brotherhood is bound by love. Papageno is given a fleeting glimpse of his ideal mate, Papagena, but is warned that he will be denied her if he fails in his trials. Pamina is taken to Tamino, and together they undergo trials by fire and water. Aided by the magic flute, they pass through safely. Papageno is united with Papagena, despite his failure to maintain silence. The Queen, the Three Ladies and Monostatos are engulfed by a clap of thunder and the remainder of the cast celebrate the victory of light over darkness.

Composer: Richard Wagner Librettist: Richard Wagner Premiere: 10 June 1865, Munich (Royal Court and National Theatre) Language: German (English subtitles) Synopsis: https://www.opera-arias.com/wagner/tristan-und-isolde/synopsis/ Act II-III: https://rumble.com/v2ezd5k-tristan-und-isolde-act-iii-bayreuth-festspielhaus-1983.html Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Straßburg. It was composed between 1857 and 1859 and premiered in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to "Tristan und Isolde" not as an opera, but called it "Eine Handlung" (literally drama or plot), which was the term used by the Spanish playwright Calderón for his dramas. Wagner's composition of Tristan und Isolde was inspired by his affair with Mathilde Wesendonck and the philosophy of Arthur Schopenhauer. Widely acknowledged as one of the peaks of the operatic repertory, Tristan was notable for Wagner's advanced use of chromaticism, tonality, orchestral colour and harmonic suspension. The opera was profoundly influential among Western classical composers and provided inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg and Arnold Schoenberg. Many see Tristan as the beginning of the move away from conventional harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. SYNOPSYS - Previous History: To free Cornwall from paying tribute to Ireland, Tristan, nephew of King Mark of Cornwall, had killed Morold, the champion of Ireland, in single combat. Severely wounded in the battle, Tristan had made his way to Ireland where, under the assumed name of Tantris, he had been healed by the magical arts of Isolde, daughter of the king. Isolde, who had been betrothed to Morold, recognised Tristan (a piece broken out of his sword matched the fragment in Morold's head), but spared his life. On his return to Cornwall, to satisfy jealous courtiers that he was not aspiring to the throne, Tristan had persuaded his uncle to ask for the hand of Isolde. - Act I - On board Tristan's ship returning from Ireland to Cornwall: Raging at her fate, Isolde laments that she has not her mother's magic art of calling up a storm to wreck the ship. She is angry that Tristan keeps apart and sends her attendant Brangäne to summon him. Tristan answers mildly that he must steer the ship; but his retainer Kurwenal answers roughly that Tristan is not Isolde's vassal, singing a vigorous song, taken up by the sailors and clearly audible to Isolde, celebrating Tristan's killing of Morold. Isolde tells Brangäne how she had spared Tristan's life when he was in her power and complains bitterly that he has repaid her by seeking her as a bride for his old uncle, an insult that no one would have dared if Morold were alive and Cornwall still owed tribute to Ireland. Brangäne reminds her of the love potion which her mother has given her, but Isolde thinks only of the poison which is in the same chest. When Kurwenal announces their imminent arrival in Cornwall and tells her to prepare to land, she gives him a message for Tristan: he must make amends for an unatoned wrong. She orders Brangäne to pour the poison into a golden goblet. When Tristan arrives, she reproaches him with having avoided her during the voyage. He replies that he intended no discourtesy, but rather greater respect by keeping his distance from his uncle's bride. Isolde claims that Morold's blood still lies between them, as she was not party to any reconciliation. He offers his sword for her to kill him if Morold was so dear to her, but she says King Mark would hold it against her if she killed him. Instead she offers a drink of atonement. Understanding her intention, he drinks and Isolde seizes the goblet and drinks the remainder. But Brangäne has substituted the love potion and they fall into each other's arms, oblivious of all around them, as the ship reaches land and King Mark approaches to claim his bride. Conductor: Daniiel Barenboim Chor & Orchestra: Bayreuther Festspiele Staged & Directed by: Jean-Pierre Ponnelle Set & Costume design by: Jean-Pierre Ponnelle Cast & Characters: René Kollo: Tristan Matti Salminen: König Marke (King Marke) Johanna Meier: Isolde Hermann Becht: Kurwenal Robert Schunk: Melot Hanna Schwarz: Brangane Helmut Pampuch: Ein Hirt (a shepherd) Martin Egel: Ein Steuermann (a helmsman) Robert Schunk: Ein Junger Sieemann ( a young sailor)

- ACT II - A garden outside Isolde's chamber in King Mark's castle in Cornwall Isolde waits for Tristan as King Mark and his court leave on a hunt. She brushes aside Brangäne's warning of danger, particularly from Melot, answering that he is Tristan's friend and has arranged the hunt so that Tristan can meet her. Brangäne, suffering pangs of remorse for her part in the love between Tristan and Isolde, begs her to defer the meeting. Isolde says that not Brangäne, but love itself (Frau Minne) was responsible for their love. She gives the signal by extinguishing a torch, telling Brangäne to keep watch. Tristan arrives and the lovers embrace, praising the night as the friend of their love, as opposed to the inimical day. Night, as Tristan explains, is equivalent to death and death will not part them, but unite them forever: only in death can their love be truly fulfilled. Brangäne's warning of the approach of day goes unheeded and they are taken by surprise when Kurwenal rushes in, followed closely by King Mark, Melot and the court. King Mark rejects Melot's claim to have saved him from shame, as nothing can remove the deep wound of Tristan's betrayal. He asks why Tristan, his dearest friend, has betrayed him, recalling that when his wife died he refused to marry again for Tristan's sake, intending him as his heir, bowing only to the wishes of his people whenTristan added his voice to theirs. Tristan had found him a peerless bride and his joy in her had made him more vulnerable than before. Tristan replies that he is unable to offer an answer that his uncle would understand. He asks Isolde if she will follow him in death. She consents and he kisses her on the forehead, arousing the wrath of Melot, who draws his sword. Tristan draws his sword to defend himself, but lets it fall and is wounded by Melot. - ACT III - Tristan's ancestral castle in Brittany Tristan, his wound still unhealed, lies under a tree as a shepherd plays a mournful tune while keeping watch for a ship which is bringing Isolde. Tristan wakes, but is unsure where he is. Kurwenal tells him that he has been brought home to recover from his wound. Tristan replies that he has already been in death's kingdom and only returned to find Isolde, who still tarries in the realm of light. Kurwenal explains that Isolde has been sent for, as the only one able to heal his wound, as she had done before. In delirious excitement, Tristan thinks he sees the ship approaching. Finding this is not so, he is reminded by the shepherd's mournful tune of the same song which accompanied the griefs of his childhood, when he learnt that his father had died before he was born and his mother on giving birth to him. He curses the potion, bearing both love and death, which he himself had brewed. The shepherd's tune changes to a cheerful strain -the ship has been sighted. As Kurwenal goes to the shore to meet Isolde, Tristan tears off the bandage from his wound. He is only able to murmur Isolde's name, before dying at her feet. As she reproaches him for dying before her, another ship is sighted. Kurwenal tries to bar the gate as King Mark and Melot arrive with Brangäne. Kurwenal kills Melot and is killed by Mark's men, falling at his master's feet. The king grieves to find this carnage. He had been told of the potion by Brangäne and had not only forgiven Tristan and Isolde but had come to unite them. Isolde, oblivious of her surroundings, is transfigured as she joins Tristan in death.

Composer: Wolfgang Amadeus Mozart Librettist: Lorenzo da Ponte Premiere: 29 October 1787, Prague (Gräflich Nostitzsches Nationaltheater) Language: Italian Cast: Cesare Siepi, Dezső Ernster, Elisabeth Grümmer, Anton Dermota, Lisa Della Casa, Otto Edelmann, Erna Berger, Walter Berry. The Choir of Wiener Staatsoper Wiener Philharmoniker Wilhelm Furtwängler Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time. Synopsis: Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit. ACT I Leporello waits outside a house where his master, Don Giovanni, is forcing himself upon Donna Anna. She cries for help and her father, the Commendatore, runs to her assistance. In the ensuing fight Don Giovanni kills the Commendatore. Donna Anna and her betrothed, Don Ottavio, vow revenge. Donna Elvira, recently jilted by Don Giovanni, arrives in search of the Don; he makes good his escape by leaving Leporello to read out his "book of conquests", in which the names of the Don's 2065 lovers are recorded. Don Giovanni comes across a peasant wedding and promptly begins to charm the bride, Zerlina, but Elvira arrives and alerts her to the Don's intentions. Donna Anna and Don Ottavio then arrive, and as the Don takes his leave of them, Anna identifies him as the man who had tried to rape her. At a party hold by Don Giovanni, Zerlina reassures her lover Masetto of her affections, but she begins to weaken in the Don's presence. Wearing masks, Anna, Elvira and Ottavio arrive at the ball, which is interrupted by Zerlina's scream. She stumbles onto the stage, the Don attempts to blame Leporello for the attack, and Anna, Elvira and Ottavio unmask themselves to publicly denounce the Don. ACT II Don Giovanni exchanges his costume with Leporello and serenades Elvira's maid as soon as Elvira has left with Leporello, believing him to be the remorseful Don. Masetto arrives with a gang of men who are intent on punishing the Don. The Don, pretending to be Leporello, tells Masetto how to find the murderer, then beats Masetto half to death. The Don and his servant meet in a graveyard, where the statue of the Commendatore addresses them; Don flippantly invites him to supper. The statue duly arrives and demands the Don's repentance. Unbending, Don Giovanni is finally dragged screaming into hell. Elvira, Ottavio, Anna and Leporello address the audience with the moral: "Evildoers always come to an evil end."

The Magic Flute (Swedish: Trollflöjten) is Ingmar Bergman's 1975 film version of Mozart's opera Die Zauberflöte. Audio in Swedish with English subtitles. It was intended as a television production and was first shown on Swedish television on 1 January 1975, but was followed by a theatrical release later that year. The work is widely viewed as one of the most successful films of an opera ever made, and as an unusual item among the director's works. The film won BAFTA TV Award for Best Foreign Television Programme in 1976 and was nominated for Golden Globe for Best Foreign Language Film. In 1968, the Swedish poet Alf Henrikson prepared a Swedish-language version of the libretto for the purpose of a performance by the Royal Swedish Opera, which Bergman adopted as the basis of his script. However, Bergman altered the libretto in a number of respects: Sarastro is Pamina's father, trios in act 2 are omitted, and "Ein Mädchen oder Weibchen" is sung by Papageno just before he sees Papagena. Instead of his usual costume of plumage, Papageno wears conventional clothing. The roles of the Three Slaves, originally spoken roles assigned to adult actors, are given to children, who are silent. In producing the opera, Bergman sought to fulfill his early dream of a production in the Drottningholm Palace Theatre (one of the few surviving Baroque theatres in the world). This setting would also approximate the conditions of the original 1791 production in the Theater auf der Wieden in Vienna. The introductory exterior shots of the film are intended to suggest that it was indeed filmed in the Drottningholm theatre. However, the scenery at Drottningholm "was considered too fragile to accommodate a film crew. So the stage – complete with wings, curtains, and wind machines – was painstakingly copied and erected in the studios of the Swedish Film Institute". Bergman asked his friend Hans Schmidt-Isserstedt to conduct the opera, but he flatly refused. Choir conductor Eric Ericson also declined at first but was later persuaded by Bergman to take it on. The cinematographer was Bergman's longtime colleague Sven Nykvist. In addition to the singers who appeared in the film, the musical forces included the Swedish Radio Symphony Orchestra and Ericsson's own choir, the Swedish Radio Choir. Cast & Characters: Josef Köstlinger – Tamino Britt-Marie Aruhn [sv]; Kirsten Vaupel [sv]; Birgitta Smiding [sv] – Three Ladies Håkan Hagegård – Papageno Birgit Nordin – Queen of the Night Irma Urrila – Pamina Ragnar Ulfung – Monostatos Ulrik Cold – Sarastro Elisabeth Erikson [sv] – Papagena Erik Saedén – Speaker Gösta Prüzelius – First Priest Ulf Johanson – Second Priest Hans Johansson and Jerker Arvidson [sv] – Two Sentries in Armor Einar Larson, Siegfried Svensson, Sixten Fark, Sven-Eric Jacobsson, Folke Jonsson, Gösta Bäckelin, Arne Hendriksen, Hans Kyhle, Carl Henric Qvarfordt – Nine Priests Urban Malmberg [sv], Ansgar Krook [sv], Erland von Heijne – Three Boys Unknown – First, Second, and Third Slaves

This film is the one existing record of Karajan's Salzburg Ring on video. Made in 1978, with imaginative extra film sequences to complement the original stage production for the Easter Festival, it brings to life the epic grandeur of Karajan's concept, with the fallible gods, headed by Thomas Stewart's nobly-sung Wotan, depicted in all their mythic majesty. Audio in German with English subtitles. Opera Synopsis: https://www.opera-arias.com/wagner/das-rheingold/synopsis/ Cast & Characters: Wotan: Thomas Stewart Donner: (Played) Vladimir de Kanel, (Sung) Leif Roar Froh: Hermin Esser Loge: Peter Schreier Alberich: Zoltàn Kelemen Mime: Gerhard Stolze Fasolt: (Played) Gerd Nienstedt, (Sung) Karl Ridderbusch Fafner: Louis Hendrikx Fricka: Brigitte Fassbaender Freia: Jeannine Altmeyer Erda: (Played) Martha Model, (Sung) Birgit Finnila Woglinde: Sung by Eva Randova Wellgunde: Sung by Edda Moser Flosshilde: Sung by Liselotte Rebmann Berliner Philharmoniker Conductor: Herbert von Karajan Director and artistic supervision: Herbert von Karajan Set&Costume Design: Georges Wakhevitch & Jean Forestier Das Rheingold (English: The Rhinegold), WWV 86A, is the first of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen (English: The Ring of the Nibelung). It was performed, as a single opera, at the National Theatre Munich on 22 September 1869, and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus, on 13 August 1876. Wagner wrote the Ring librettos in reverse order, so that Das Rheingold was the last of the texts to be written; it was, however, the first to be set to music. The score was completed in 1854, but Wagner was unwilling to sanction its performance until the whole cycle was complete; he worked intermittently on this music until 1874. The 1869 Munich premiere of Das Rheingold was staged, much against Wagner's wishes, on the orders of his patron, King Ludwig II of Bavaria. Following its 1876 Bayreuth premiere, the Ring cycle was introduced into the worldwide repertory, with performances in all the main opera houses, in which it has remained a regular and popular fixture.

Die Walküre in the staging that inaugurated the 1994/95 Season of the Teatro alla Scala, conducted by Riccardo Muti and directed by André Engel. Die Walküre (The Valkyrie), WWV 86B, is the second of the four operas that form the cycle Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. Die Walküre's best-known excerpt is the "Ride of the Valkyries". Composer: Richard Wagner Librettist: Richard Wagner Premiere: 26 June 1870, National Theatre Munich Language: German Synopsis: https://www.opera-arias.com/wagner/die-walk%C3%BCre/synopsis/ Translation: No Subtitles Cast & Characters: Siegmund - Placido Domingo Hunding - Matthias Hölle Wotan - Monte Pederson Sieglinde - Waltraud Meier Brünnhilde - Gabriele Schnaut Fricka - Marjana Lipovšek Gerhilde - Susan Anthony Ortlinde - Ruth Floeren Waltraute - Margareta Hintermeier Schwertleite - Anna Gonda Helmwige - Gabriele Maria Ronge Siegrune - Katia Lytting Grimgerde - Penelope Walker Rossweisse - Lioba Braun Chorus & Orchestra of Teatro alla Scala Conducted by Riccardo Muti

Opera Title: Così fan tutte, ossia La scuola degli amanti Composer: Wolfgang Amadeus Mozart Libretto: Lorenzo Da Ponte Premiere: 26 January 1790, Vienna (Burgtheater) Language: Italian Synopsis: https://www.opera-arias.com/mozart/cosi-fan-tutte/synopsis/ Characters & Interpreters: Fiordiligi: Gundula Janowitz Dorabella: Christa Ludwig Ferrando: Luigi Alva Guglielmo: Hermann Prey Despina: Olivera Miljakovic Don Alfonso: Walter Berry Conductor: Karl Böhm Orchestra: Wiener Philharmoniker Chorus: Wiener Philharmonia Chor Recorded: 1970 Così fan tutte, ossia La scuola degli amanti, K. 588, is an opera buffa in two acts by Wolfgang Amadeus Mozart. Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Merchant of Venice and The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii. Place: Naples Time: the 18th century ACT I Ferrando and Guglielmo are convinced of the fidelity of Fiordiligi and Dorabella, the two sisters to whom they are betrothed. Don Alfonso, on the other hand, claims all women are fickle and wagers that he can prove it. The young men agree to take Alfonso's test, and he tells the sisters that their husbands-to-be have been enlisted into the army. Once the men have departed, the sisters' maid Despina is persuaded by Alfonso to introduce two young Albanian friends (Ferrando and Guglielmo in disguise) to Fiordiligi and Dorabella. Each "stranger" then begins to court the other's fiancée, and they begin to make progress after pretending to take poison. Despina disguises herself as a doctor and successfully cures the Albanians. ACT II When Ferrando learns that Dorabella has yielded to Guglielmo, he becomes yet more determined to win Fiordiligi's heart. Eventually, she too succumbs and a double wedding is planned - with Despina, again in disguise, as the notary. Just as the army is heard returning, the Albanian newlyweds disappear and Ferrando and Guglielmo appear in their place. Producing the marriage contract, they remonstrate with the sisters, who soon confess their deceit. After paying Alfonso his wager, Ferrando and Guglielmo forgive Fiordiligi and Dorabella.