Gioachino Rossini La Cenerentola
Don Ramiro, the only heir to an unspecified estate, has to get married immediately according to the testamentary provision. If he doesn’t, he will be denied the legacy as well as the leading position of his father. This would imply the dissolution of all longstanding systems, which subsequently would mean the disintegration of the empire. Ramiro is summoned to appear before the general assembly of executives, who present him with the choice between immediate marriage or disinheritance.
Alidoro, a young and smart consultant with a bright future, has already largely prepared this wedding, of which the two future spouses are neither aware of nor have they ever set eyes on each other.
Alidoro’s plan is the following: Disguised as the clerk Dandini, Don Ramiro will get to know Alidoro’s chosen “bride victim” incognito. According to Alidoro’s speculation, this girl than will fall madly in love with Ramiro, so that Ramiro, overwhelmed with the sudden force of this innocent love, will fall for her too.
This wonderful meeting is supposed to be happening at the house of the well-known wine lover Don Magnifico, who urgently has to revamp his dilapidated estate. His last assets are his two biological daughters Tisbe and Clorinda. These assets have to be cherished and pampered and may not be spent prematurely. But to find a rich husband for them proves to be a near impossible task: Altogether they have seen better days.
(Daryl Henline + Lola Miller-Henline)
La Cenerentola is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817. The light, energetic overture has been in the standard repertoire since its premiere as La Cenerentola.For detailed information on. La Cenerentola book. Read reviews from world’s largest community for readers. A new, full translation of Rossini's LA CENERENTOLA with Italian and Englis. Gioachino Rossini - La Cenerentola RAI Television, 2012 Carlo Verdone, Gianluigi Gelmetti, Lena Belkina, Edgardo Rocha, Anna Kasyan, Annunziata Vestri, Carlo Lepore, Simone Alberghini, Lorenzo Regazzo.
(“La Cenerentola (Cinderella)” plays at the War Memorial Opera House November 18, 21st and 26th, 2014).
“La Cenerentola (Cinderella)” by Gioachino Rossini, currently in production at San Francisco Opera is a wonder in every respect from the set design to the colorful voices of the singers.
The story of “La Cenerentola” is a retelling of the classic folk tale we know as Cincerella. While most Americans have come to know this story through Walt Disney’s animated masterpiece, the opera is rich in additional detail, much of which differs from more familiar tellings. For instance, Angelina, the central figure, is kept in poverty and servitude by an evil stepfather, the Duke of a decrepit palace. Instead of a fairy godmother transforming the heroine into a princess, it is a spectral figure, a blind beggar who has received her kindness, that magically intercedes for the unfortunate girl. The beggar might be an incarnation of her dead father. The Prince meets Angelina while disguised as his own valet and falls in love with her pure heart, kindness and beauty. Of course there is a ball! And a hunt for the mysterious beauty who departs suddenly, leaving the prince with a bracelet and a challenge to “find the girl who wears its companion”.
The opera was first performed in 1817, a year after Rossini’s great success with “The Barber of Seville”. Although “La Cenerentola” premiered in New York City in 1826, it was not produced in San Francisco until 1969, at which time the present production was created by the famed designer and director, Jean-Pierre Ponnelle. The production was duplicated in Europe and has defined the opera for the last 45 years at houses throughout the world, remaining timeless and as perfect a treatment for this story as is imaginable. The black and white hand drawn sets, completely refurbished in 1991, seem to be lifted from the pages of a storybook and provide a simple yet memorable backdrop for the colorful costumes and humor of the story. The current production is directed by Gregory Fortner and ably conducted by Jesus Lopez-Cobos, returning to the San Francisco Opera after an absence of 40 years.
This is a performance of shining musicality, splendidly cast to take full advantage of Rossini’s florid melodies.
Singing the role of La Cenerentola is French mezzo soprano, Karine Deshayes, making her San Francisco Opera debut. Her performance is engaging and lively, her voice lustrous and colorful with ease and buoyancy throughout the evening. She is well paired with tenor René Barbera as Prince Don Ramiro, also making his company debut. Barbera’s voice is free and even in its mastery of the intricate coloratura aria blooming in complete control with thrilling high notes. Carlos Chausson contributes a rich, full baritone to the role of Don Magnifico, Angelina’s manipulative stepfather. It’s clear from his command of the role that he is a master of the comedic buffo repertoire.
Adler fellows Efraín Solís, Maria Valdes and Zanda Švēde play the roles of Dandini, the prince’s valet and Angelina’s two haughty stepsisters. Solís in particular stands out for his full, pleasing voice and engaging acting. Christian Van Horn, bass baritone, adds intrigue as Alidoro, alternately commenting on plot developments and bringing Angelina’s dream of attending the Prince’s ball to life.
The opera is very much an ensemble piece with numerous duets, trios and quartets matching the artists with one another, showcasing their vocal talents in an endless variety of Rossini’s delightful devices. An unexpected highlight of the evening was the rich sound of the men of the SF Opera chorous. They were particularly adept and well used in this production.
“La Cenerentola” is at once a worldly tale of greed and cruelty turning on their master, a reminder of the roles of women in the world of feudal Italy, and a lighthearted fairy tale that indulges our very human wish for a happy ending.
Gioachino Rossini La Cenerentola Arie
This production is highly recommended: it will take you back to childhood and show you a bedtime story all grown up.
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“La Cenerentola”, by Gioachino Rossini, libretto by Jacopo Ferretti. Conductor: Jesus Lopez-Cobos. Director: Gregory Fortner. Production Designer: Jean-Pierre Ponnelle. Lighting Director: Gary Marder. Chorus Director: Ian Robertson.
Best Rossini Operas
Angelina (Cenerentola): Karine Deshayes. Clorinda: Maria Valdes. Tisbe: Zanda Švēde. Alidoro: Christian Van Horn. Don Magnifico: Carlos Chausson. Don Ramiro: René Barbera. Dandini: Efraín Solís.
Gioachino Rossini Music
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