Smiles of a Summer Night is Bergman’s Così Fan Tutte: the game playing, the cynicism, the superior wisdom of the social inferiors, the awareness at the end that those final matchups aren’t really going to work. (Mozart and his librettist, Lorenzo da Ponte, are even more careful than Bergman to leave this point unresolved, to the continued bemusement of two centuries of opera directors.) Bergman adorns his plot with more characters than the opera’s six, but the parallels are inescapable. Both works are, unto themselves, perfect.
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