Name: Cendrillon
Start: 2022-06-28T00:00:00.000Z
End: 2022-06-29T00:00:00.000Z
Location: Teatro Campoamor

Organization

Conductor

Francisco Manuel Soriano

Pianist

Set designer

Pablo Menor Palomo

Costume designer

Raquel Porter

Stage director

Guillermo Amaya

Singer

Soprano

Juliane Stolzenbach Ramos

Cendrillon

Tenor

Francisco Gracia Bravo

Le Prince Charmant

Vanessa Cera

Maguelonne

Mezzo-soprano

Paola Leguizamón

Armelinde

Juan Ramos

Le Comte Barigoule

Miriam Silva

La Fee

Ópera de Oviedo

Cendrillon -  (Cinderella)

Oviedo

Spain

Teatro Campoamor

Public

Cinderella

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Bass

Bass-baritone

Contralto

Baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Cendrillon Viardot

By Guillermo Amaya, stage director and adapter of the original text into Spanish  

A group visiting the museum gets lost and enters a disused room. It looks like an old warehouse, full of boxes and antiques. They all start browsing. Until they find a book by Pauline Viardot. Our protagonist begins to read. She plays the music and everything is transformed. Light and magic appear and the old warehouse becomes a room that could well have been the room at Viardot's house where she often performed this type of performance. The visitors who had been lost become the protagonists of the opera.

This is the starting point for my staging of Pauline Viardot's Cinderella. My intention is to extract from the text and the story, as the composer tells us, the essential ideas, and see how valid they are in our current society and how operetta can serve to connect with a young and family audience. both musically and narratively as well as aesthetically and scenically. That is why my effort, through staging, to unite two worlds, that of magic and the past, with the present world and fantasy. Telling, through Viardot's Cinderella, the importance of values ​​such as kindness, love, the ability to forgive, work and reward, and overcoming prejudice. All very current today, perhaps more than ever.

At the same time, I want to pay homage to the composer on the 200th anniversary of her birth, rediscover her music and make it known to her young audience who may not have yet heard of Pauline Viardoy and the importance she had on an artistic level in 19th century Europe.

English

Por Guillermo Amaya, director escénico y adaptador del texto original al castellano  

Un grupo que visita el museo, se pierde, y entra en una sala que se encuentra en desuso. Parece un viejo almacén, lleno de cajas y de antigüedades. Todos se ponen a curiosear. Hasta que encuentran un libro de Pauline Viardot. Nuestra protagonista comienza a leer. Suena la música y todo se transforma. Surge la luz, la magia y el viejo almacén se convierte en un salón que bien podría haber sido el salón de la casa de Viardot donde, muy amenudo, realizaba este tipo de representaciones. Los visitantes que se habían perdido, se transforman en los protagonistas de la ópera.

Este es el punto de partida para mi puesta en escena de la Cenicienta de Pauline Viardot. Mi intención es extraer del texto y de la historia, tal y como nos la cuenta la compositora, las ideas esenciales, y ver la vigencia que tienen en nuestra sociedad actual y cómo puede servir la opereta para que conecte con un público joven y familiar, tanto a nivel musical y narrativo como a nivel estético y escénico. Por eso mi empeño, a través de la puesta en escena, en unir dos mundos, el de la magia y el pasado con el mundo presente y la fantasía. Contar, a través de la Cenicienta de Viardot, la importancia de valores como la bondad, el amor, la capacidad de perdonar, el trabajo y la recompensa y la superación de los prejuicios. Todos muy vigentes hoy en día, quizá más que nunca.

Al mismo tiempo, qiuero hacer un homenaje a la compositora en el 200 aniversario de su naciemiento, redescubrir su música y darla a conocer a su público joven que quizá no haya oído todavía hablar de Pauline Viardoy y de la importancia que tuvo a nivel artístico en la Europa del XIX.

español

Cinderella by Viardot, Od (2022/2022), Režie Guillermo Amaya,, Dirigent Francisco Manuel Soriano, Teatro Campoamor, Oviedo, Spain

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