While the Teatre i l’Auditori of Manacor face an important change of era with the change of manager, after almost 40 years with Tomeu Amengual at the helm, the Teatre Principal of Inca consolidates an audience that, since its inauguration in 2021, has not stopped growing. If the 2022-2023 season closed with 28,000 attendees, the 2024-2025 season ended with more than 34,000. Many of them, moreover, from Inca. “More and more people from Inca are coming to the theater, trusting the proposals we offer, but since the audience from the rest of the island is also growing, the percentages mean that the increase in local audience, which was one of the main objectives to achieve, is blurred”, explains Miquel Àngel Raió, director of the center since September 2022. “Of course, we would like to achieve a model like Manacor’s, with more than 50% local audience, but now we are operating with different percentages. We have 30% of people from Inca and 70% of people from the rest of Mallorca”, he specifies.

The challenge was very risky. The liaison between the Principal Theatre of Inca and the Orquestra de Cambra de Mallorca is yielding increasingly tasty fruits. That said, it is worth praising this latest achievement, which surely will not be the last, nor by a long shot, such as the complete staging of Mozart's Così fan tutte, with only small and not at all significant plot cuts which, on the other hand, have managed to give great fluidity to the narrative and make everything flow with maximum naturalness for a story that, like almost all farcical comedies, does not aim for any semblance or credibility. The intention lies in the background of the plot, which, in this case, is well-filled with readings. So much so that Miquel Àngel Raió, the artistic director of this success, has changed the discourse as much as possible, saving a bit of what "all" do. It was not easy to win a tug-of-war against Lorenzo da Ponte. We'll leave it at that. Raió, where he has undoubtedly been fundamental has been in the staging and everything related to the setting –appropriate, simple, and efficient–, in the very careful direction of actors and all other elements that, with the scenographic and stylistic collaboration of Adema, make everything run smoothly without hitches or delays. He even derives plot benefit from the incorporation of the three dancers.

“I am on the threshold of fullness”, Mozart wrote in a letter in 1790, the same year as the premiere of Cosi fan tutte, or La scuola degli amanti. Christoph Wolff recounts this in his essay and makes it the title of the book that, translated by Ramón Andrés, was published by Acantilado. It tells, among many other things, that the libretto Da Ponte presented to Mozart bore the title that remained as the subtitle, but Mozart found the one we all know more suitable, for musical reasons, and surely some others. It should be noted that Da Ponte never acknowledged the name by which it has gone down in history and in his Memoirs; he only mentions it once in a small paragraph, where he recounts writing a third piece for a singer, to whom he gives no name, but it was Adriana del Bene, known as La Ferrarese, his lover at the time. They were El pastor Fido and La xifra, by Salieri, and La scuola degli amanti, by Mozart, “which occupies third place among the sisters born of this most celebrated father of harmony”. Not a word more. It is clear that the interpretation of the work between one and the other was conceptually very different, at least regarding the title. Mozart, for his part, gave prominence to female behavior, while Da Ponte sought, and found, a philosophical and groundbreaking reading, as well as much more researched and profound.

“I am on the threshold of fullness”, Mozart wrote in a letter in 1790, the same year as the premiere of Così fan tutte, or La scuola degli amanti. Christoph Wolff picks it up in his essay and makes it the title of the book that, translated by Ramón Andrés, Acantilado published. He recounts, among many other things, that the libretto Da Ponte presented to Mozart bore the title that became the subtitle, but Mozart found the one we all know more suitable, for musical reasons, and surely for others. It should be said that Da Ponte never acknowledged the name by which he has gone down in history and in his Memoirs, only mentioning it once in a small paragraph, where he recounts writing a third piece for a singer, whom he does not name, but it was Adriana del Bene, known as La Ferrarese, his lover at the time. They were El pastor Fido and La xifra, by Salieri, and La scuola degli amanti, by Mozart, “which occupies third place among the sisters born of this most celebrated father of harmony”. Not a word more. It is clear that the interpretation of the work between one and the other was conceptually very different, at least with regard to the title. Mozart, for his part, gave prominence to female behavior, while DaPonte sought, and found, a philosophical and groundbreaking reading, as well as much more elaborate and profound.