“Così run tutti” was to be a contemporary opera, the crossing of the aesthetics and languages ​​of the theater of Palmilha Dentada and Interferencia. The theater group and the collective of contemporary music creators, to which, on top of that, the richness and modernity of the audiovisual media were added, in a language that did not go so far as to be kitsch, was a guarantee of an opportune modernity.

Unfortunately, things went wrong. It is not easy to cross between the humor of Palmilha and the erudition of contemporary music of Interference. Neither the musicians represented nor the actors had rhythm and, above all, nobody sang, something that, despite all the modern aesthetics, continues to be fundamental in the staging of an opera, even if it is contemporary, even if it uses audiovisual means, even if it is almost kitsch.

The final result – called “Cosi run tutti”, in a very free translation “like this all flee” – is nothing more than a reflection on aesthetics and the relationship between creators and their audiences, on the importance of cultural policies and the wealth and importance of personal and collective artistic projects beyond the dominant fashions.

But, despite everything, the end result has music, humor and singing.

Mozart, on the other hand, is innocent of all this mess.