'He was out to to create something unheard-of,' observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we 'had never before heard like this' (Kurier). Nikolaus Harnoncourt, 'master' of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his 'original-sound orchestra' Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research an 'enthusiastically acclaimed cycle!' (news.at). During an intensive phase of rehearsal and preparation, he was in search of a Mozart hermeneutic resting on historical sources and yet anchored in our own time, in order to stage the whole Da Ponte 'trilogy' Le nozze di Figaro, Don Giovanni and Così fan tutte in a matter of a mere six weeks. 'The culmination of Harnoncourts involvement with [Mozarts Da Ponte operas] A Mozart drawn from historical sources and yet anchored in our own time.' (Die Presse) PART III: Cosi fan tutte + Documentary: Nikolaus Harnoncourt - Between Obsession and Perfection (Cosi fan tutte)