The L.A.Philharmonic rehearses with Swedish soprano Miah Persson, top, at Disney Hall for “Cosí fan tutte” on a stage created by Zaha Hadid’s firm. (Cheryl A. Guerrero / Los Angeles Times)

The Los Angeles Philharmonic's production of the Mozart-Da Ponte opera "Così fan tutte" arrives on stage at the Walt Disney Concert Hall on Friday with a hard-edged futurism and a note of nostalgia.

It's the third production in as many years to unite the orchestra under the baton of kinetic music director Gustavo Dudamel with staging by director Christopher Alden, one of opera's revisionists known for injecting contemporary urgency into his productions.

It's also the finale in a trilogy of late 1700s operas composed by Wolfgang Amadeus Mozart with Italian librettist Lorenzo Da Ponte for which the L.A. Phil enlisted world-class architects and fashion designers to create costumes and sets.

In this case, the two-time British Fashion Council's designer of the year Hussein Chalayan, renowned for blurring the line between art and wearable architecture, supplies its wardrobe. The firm of Pritzker Prize-winning Baghdad-born British architect Zaha Hadid is responsible for "Così's" curvilinear, shape-shifting stage — not to mention a near CIA-level of secrecy leading up to the opera's opening.

And in an era when opera performers are required to negotiate nosebleed heights, avant-garde choreography and restrictive costumes, the L.A. Phil's "Così fan tutte" requires its singers to take certain fashion precautions lest they suffer grave physical injury while walking what is quite literally a slippery slope during performances.

"It's a very intensely raked set — the women have to take off their fabulous high-heeled shoes in order to go up the steep parts of the ramp," Alden said with a laugh. "But we've made that part of the show! The shoes sit on the stage and take on an iconic status."