Organization

Cenógrafo

Emanuele Luzzati

Estilista

Cantor

Baixo

Marco Filippo Romano

Don Magnífico

Giovanni Romeo

Maestro

Riccardo Minasi

Diretor de Palco

Paolo Gavazzeni

Piero Maranghi

Designer de Iluminação

Luciano Novelli

Mezzo-soprano

Hongni Wu

Angelina

Laura Verrecchia

Tenor

Antonino Siragusa

Don Ramiro

Dave Monaco

Barítono

Roberto de Candia

Dandini

Pablo Ruiz

Carlotta Vichi

Tisbe

Soprano

Giorgia Rotolo

Clorinda

Gabriele Sagona

Alidoro

Matteo D'Apolito

Teatro Carlo Felice

Others

Chorus of Teatro Carlo Felice di Genova

Orchestra

Orchestra del Teatro Carlo Felice di Genova

italiano

La Cenerentola -  (Cinderela)

Génova

Itália

La Cenerentola Rossini

Public

Cinderela

Approved

La Cenerentola
Dalla fiaba all’opera, l’intramontabile vicenda di Cenerentola, venata da un sapore dolce-amaro

The work in brief

Rossini begins to compose La Cenerentola at the end of 1816. Within just a month, the opera is ready, and is staged in Rome, at the Teatro Valle, on January 25, 1817. Despite some initial reservations, also due to the limited time of preparation of the first production, La Cenerentolait soon became a much appreciated and represented title. Together with the librettist Jacopo Ferretti, Rossini searches for a subject that can be performed without incident with the strict censorship of the Roman milieu. The choice falls on the very popular fairy tale of Cinderella, recurring in various forms since the time of the ancient Egyptians, with a sufficiently linear and morally impeccable plot. Also particularly suitable for operatic transposition, the fairy tale had already been set to music first by Nicolò Isouard, with a libretto by Charles-Guillaume Étienne, then by Stefano Pavesi, with a libretto by Francesco Fiorini.
It will be precisely Le Cendrillion of Étienne and Agatina or the rewarded virtueFiorini are the main literary sources from which Ferretti will draw, who however writes orienting himself towards a more realistic dimension, and removing all the fantastic elements from the original plot.
Rossini's music conveys a vast expressive variety, describing and at the same time determining the action.
Some sections - also considering the limited time available - were borrowed from previous compositions, such as the opening symphony, the same one that introduced La gazzetta, from 1816, and some passages from the Barber of Seville.Luca Agolini was entrusted with the composition of still other pieces, such as Alidoro's aria "Vasto teatro è il mondo", which was later replaced with Rossini's "Là del ciel nell'arcano profound", and the aria by Clorinda “Unfortunate! He believed me”.
The dramatic intent is experimental, La Cenerentolait is a playful drama in which various aspects converge which in the previous century had been the prerogative of serious opera - in particular the greater psychological complexity of the characters - with others more easily identifiable in the buffo genre. Thus simple, almost stereotypical characters such as Clorinda and Tisbe find themselves coexisting with a serious and profound character such as Alidoro, and again with Angelina, Ramiro and Don Magnifico, outside of any possible clear-cut classification. The result is a subtle, ironic comedy that lends itself to different levels of interpretation, in the direction of a musical theater less limited to a specific genre and richer in nuances and contrasts.

English

Cinderela by Rossini, De (2022/2022), Dirigido por Paolo Gavazzeni, Piero Maranghi,, Regente Riccardo Minasi, Teatro Carlo Felice, Génova, Itália

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