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La cenerentola © Wiener Staatsoper GmbH - Michael Pöhn

Rossini La Cenerentola

The 25 January 2020
Wiener Staatsoper - Wien
Program

Rossini : La Cenerentola

3 h Sung in : Italian
Cast
  • Conductor
    Evelino Pidò
  • Director
    Sven-Eric Bechtolf
  • Performers
    Angelina: Margarita Gritskova
    Don Ramiro: Antonino Siragusa
    Don Magnifico: Alessandro Corbelli
    Dandini: Orhan Yildiz
    Alidoro: Roberto Tagliavini
Details on the Performance

La Cenerentola is based largely on the famous story of Cinderella, above all the version by Charles Perrault. It offers a successful balance of irony, comedy, lyricism, melancholy and fairy tale undertones and appeals equally to adults and young visitors to the opera. For many people, although La Cenerentola was written in very little time, it is the most poetic of all comic Rossini operas. In fact, at the very least in the extremely subtle musical portrayal of the characters, this opera has a singular place amongst the buffo oeuvre. Sven-Eric Bechtolf, director of the current production, has transferred the action to 1950s Italy, or more precisely to a tiny fictitious nation on the Mediterranean called San Sogno, ruled by the slightly eccentric young prince Don Ramiro, who collects expensive cars.

Source © Wiener Staatsoper

  • Venue Info
  • Seating Plan
  • Synopsis
  • Videos

Wiener Staatsoper - Wien Location Opernring 2 - 1010 Wien Autriche

  • Venue's Capacity: 1709

The Venue's History in few words …

The Vienna State Opéra is much more than just a local institution; it is a vital part of the city's identity and a national landmark.

 

As of the 17th century, the Hapsburgs lavishly patronized the opéra. Family members Ferdinand III and Leopold I composed for the théâtre, while Charles VI tried his hand at conducting the orchestra, and the Empress Maria-Theresa often mingled with the corps de ballet.

 

During the 19th century, the Karntnerthor-Theater was demolished and the présent building was constructed on the famous " Ring ". It was here that Mahler, with the help of the set designer Alfred RoUer, imposed a new style of performance, based on audacious stagings and a very précise interprétation ofthe score, which demanded countless rehearsals.

 

After the fall of the Hapsburgs, Richard Strauss took over the reins of the newly baptized Vienna State Opéra. Curiously enough, only one of Strauss'operas, THE WOMAH WITHOUT A SHADOW, was premiered in Vienna. Clemens Krauss and Karl Bôhm were to follow in his footsteps. Under Bôhm's direction, the Opera created its own Company, which was to serve as a model for several générations. Even the bombs that destroyed the opéra house in 1945 could not prevent singer s such as Elisabeth Schwarzkopf, Irmgard Seefried, Sena Jurinac or Erich Kunz from becoming legendary.

 

One musn't think that the Viennese applaud only their homegrown stars. In 1955, when Maria Callas came to sing LUCIA DI LAMMERMOOR in the reconstructed building with Karajan conducting, the public blocked traffic to pay tribute to the diva... in the street! Karajan succeeàed Karl Bôhm, and invited many international stars to corne sing on the Viennese stage. Works were henceforth sung in their language of origin, and coproductions with La Scala permitted the disco-very of voices such as that of Mirella Freni in LA BOHEME.

 

Ioan Holender has suceeded in deftly combining these international distributions with an ensemble System. He has scheduled many works never heard on the Viennese stage, which are now included in the Opera's répertoire, such as Verdi's JERUSALEM and Enesco's OEDIPE, furthering a policy instated under Claudio Abbado's brilliant direction. Whatever changes may now occur, the Opera will continue to stage at least 300 performances per season (an absolute world record ren-dered feasible thanks to the în-house technical crew, which hires no less than 250 people), and the public will continue to applaud the finest orchestra any amateur could wish for in the pit : the Vienna Philharmonie !

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The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.

Synopsis

La Cenerentola

Revisiting the old Cinderella’s tale gave young Rossini the chance to release his whole potential and crazy talents, translating his colourful universe into a play that, throughout its story, many directors have found extremely challenging to stage.

This opera, renowned for the stunning beauty and complexity of its mezzo and soprano’s arias, was composed by Rossini when he was just 25 and premiered at Teatro Valle in Rome on 25th January 1817. The libretto was written by Jacopo Ferretti and it is based on the fairytale Cenerentola by Perrault which the Italian librettista has stripped of supernatural elements and slightly modified in order to obtain a Cinderella which is, over all, more fragile and more harshly tormented by her family and whose goodness will eventually help triumph. Angelina’s role (Cinderella) was composed for a coloratura contralto but nowadays is very often interpreted by a mezzo. The opera is also rich in humour due to a number of comic situations created by funny characters.

THE PLOT
Rossini’s plot shares a few elements with the original by Perrault; Cinderella gets mistreated by her family, she falls in love with a boy she thinks the Prince’s valet and she also sneaks in the great ball. The valet turns out to be the prince himself and after Cinderella’s runaway he will use a bracelet she handmade for him instead of a crystal shoe to find her. Masks will eventually be dropped, letting kindness and love triumph!

Act 1
The story begins at Don Magnifico’s house, where daughters Clorinda and Tisbe are continuously arguing over who is the prettiest, while other daughter Angelina lives like a homeless and gets regularly abused and mistreated by the whole family. At the palace, Prince Ramiro is looking to get a wife and order his tutor Alidoro to see to it. Dressed up as a beggar, Alidoro, goes to Magnifico’s, but instead of letting him in he sends him away, Angelina is the only one treating the beggar in disguise with respect. Later on, the Prince himself, Disguised as a valet, shows up at Magnifico’s door and instantly falls in love with Angelina who is also impressed by his beauty. Then, squirrel Dandini, dressed up as the prince, enters and courts the evil sisters inviting them to the Ball. Angelina wants to partake as well and literally supplicates her father to let her, but he refuses. However, Alidoro helps Angelina getting properly dressed up and after covering her face he lets her sneak in the ball. Back at the palace, the prince, still disguised as his valet, speaks his own mind about the two horrible sisters and falls in love with a mysterious stranger, queerly familiar to him.

Act 2
At supper, atmosphere is thick, Prince is sure he has already seen the mysterious girl who kindly refuses Dandini’s advances-who’s still disguised as a prince- telling him she’s in love with the valet. When Ramiro overhears the girl’s confession asks for her hand right away and, in turn, she gives him a handmade bracelet as a present asking him to meet up again at her place, and then runs away. Later on, Prince Ramiro recognises Angelina while at Magnifico’s house and asks for her hand. The opera ends at the palace where Don Magnifico is forgiven and virtues together with love and goodness triumph!

MAIN CHARACTERS

Angelina, or Cenerentola, stepdaughter of Don Magnifico (contralto)

Don Ramiro, Prince (tenor)

Don Magnifico, Baron (basso)

Dandini, Don Ramiro’s valet (baritone)

Alidoro, prince’s tutor (basso)

Tisbe, Angelina’s step sister (mezzo-soprano)

Clorinda, Angelina’s step sister (soprano)

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Video

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