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La Cenerentola premieres the season at the Teatro Real

Cinderella
Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

Interview with Riccardo Frizza

He started out playing the piano, until the 14 years, during an Easter holiday in Vienna, attended a concert being fascinated by the figure of the director, none other than Karajan. Why then settle for an instrument, being able to make all of them sound? Thus began the trajectory of Riccardo Frizza. He is currently director of the Donizetti Festival in Bergamo, has recently been awarded as best musical director for his Lucia de Lammermmor in ABAO and from the 23 September will be in charge of premiering one of the most special seasons of the Royal Theater. He does it with La Cenerentola, de Gioachino Rossini, and with the firm intention of showing that the genius of Pesaro is on a par with Mozart or Beethoven and that his Cenerentola is a true masterpiece. Riccardo Frizza

 

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He Teatro Real inaugurate the next 23 September Season 2021-2022 ─the twenty-fifth since the reopening and one hundredth since its inauguration─, with Cinderella, from Gioachino Rossini.

They offer 15 functions of the opera, between 20 September Youth Preview of the Season and 9 October, in a co-production of the Den Norske Opera in Oslo and the Opéra National de Lyon presented in both theaters in 2017, precisely two centuries after its premiere at the Valle Theater in Rome, in 1817.

In fact, Cinderella, that is, goodness in triumph (Cinderella, I mean, The triumph of goodness) it was composed against the clock, in record time of 24 days, with astonishing speed and synchronous coordination between librettist Jacopo Ferretti and Gioachino Rossini, that their 25 years he was already a consecrated composer, with 19 operas in your catalog, including such popular titles as Tancredi, The Italian Girl in Algiers, The turkish in Italy, Otello O The Barber of Seville…

Before the rush of time, Rossini worked piecemeal, reusing fragments from previous operas, how i used to do, in addition to having the collaboration of Luca Agolini for the writing of the recitatives.

Due to the limited technical possibilities of the Roman theater stage and the pressure of the premiere, Rossini and Ferretti decided to use a version of the story by Cinderella stripped of its fantastic elements: the wicked stepmother was replaced by the mean stepfather Don Magnifico; the fairy godmother disappears, leaving Alidoro as ‘godfather’ of the unfortunate maid, and the iconic shoe is replaced by a simple bracelet.

Both the profile of the characters and the score reveal a perfect osmosis between the tradition of the dramma giocoso and from the opera jokes with Don Magnifico and Dandini, heirs of the art commedyand elements of an already romantic ‘realism’ represented by the philosopher Alidoro or the leading couple.

With its astonishing melodic richness and brilliantly effective orchestral palette, Rossini delights in the humor of the characters and the great situations the set numbers, but also with bel canto arias of great sentimental ardor and vocal virtuosity.

The staging of Stefan Herheim returns to the tale of Cinderella its thaumaturgical elements, giving Rossini himself a ‘magic baton’ with which to bring his irreverent characters to life, in a permanent illusionist game closer to the universe of Lewis Carroll than to Charles Perrault.

Herheim recreates himself with the opera dress-up game, dressing up Rossini as Don Magnifico, in a clear nod to the famous production of Cinderella conceived by Jean Pierre Ponnelle, in which Rossini was hiding behind Alidoro, and that Teresa Berganza brilliantly starred.

A double cast will give life to the characters of Cinderella, led by mezzo-sopranos Karine Deshayes Y Aigul Akhmetshina. They will be accompanied by the tenors Dmitry Korchak Y Michele Angelini (Don Ramiro); baritones Renato Girolami Y Nicola Alaimo (Mr. Magnificent) Y Florian Sempey Y Maybe Borja (Dandini); the short ones Roberto Tagliavini Y Riccardo Fassi (Gold wings), las sopranos Rocío Pérez Y Natalia Labourdette (Clorinda) and mezzosoprano Carol García (Tisbe).

The musical direction will be borne by Riccardo Frizza, who already directed the two versions of Tancredi, Rossini also, in 2007. It will have the Headlines Choir and Orchestra of the Teatro Real, that they will interpret again Cinderella 20 years after the last production of this title presented at the Real, with musical direction Carlo Rizzi and stage director Jerome Savary, in 2007.

Photography © Erik Berg

Cinderella

The Palau de les Arts brings together Carlo Rizzi, in musical direction, y a Laurent Pelly, in the stage direction, for 'Cinderella', Rossini, that will be released this next 10 December in the Main Hall.

Les Arts recovers Rossini's comic repertoire in its programming with this new montage, co-produced with the Dutch National Opera and the Grand Théâtre de Genève, in which some of the most prominent experts in the work of the composer of Pesaro are cited, as explained by Jesús Iglesias Noriega today in his presentation.

On the podium returns to Les Arts Carlo Rizzi, one of the most prominent opera directors of recent years. Invited by the main theaters and festivals, Rizzi made his debut with the Choir of the Generalitat and the Orchestra of the Valencian Community (OCV) in 2013 with Verdi's 'Requiem'.

Carlo Rizzi has recordado, in this sense, the ductility and capacity of the OCV to tackle this work by Rossini, which is considered as his most appreciated title, and represented, después de 'The Barber of Seville'. The Milanese master, Likewise, has underlined the need for a great cast in an opera in which joint numbers take center stage.

Emerging and consolidated Rossinian interpreters make up the cast that will perform ‘La Cenerentola’ from 10 al 23 December at Les Arts, as Iglesias Noriega has pointed out. The mezzo-soprano ascendant anna Goryachova (Angelina) leads the cast of the production in its debut in Valencia. Lawrence Brownlee, become one of the main tenors of ‘bel canto’, plays the role of Don Ramiro.

For the role of Don Magnifico he will sing, for the first time in the Main Hall, the veteran bass-baritone from Zaragoza Carlos Chausson, considered one of the great Rossini specialists on the international scene. Beside, two emerging performers, the Catalan baritone Carles Pachón (Dandini) and the italian bass Riccardo Fassi (Gold wings) they close the deal, in which the interpreters of the Center de Perfeccinment also participate Larisa Stefan (Clorinda) Y Evgeniya Khomutova (Tisbe).

The sought-after French opera and theater director, Laurent Pelly, performs his first work for Les Arts with this title, what, as Iglesias Noriega has qualified, is part of the commitment to introduce new aesthetics in the programming by the hand of the main names of the current scene.

Pelly, recognized for the careful dramaturgy of his works, he is also the costume designer for this production, with scenery by Chantal Thomas, featuring Jean-Jacques Delmotte as Associate Costume Designer and Duane Schuler as Lighting Design. As he explains himself, in his ‘Cenerentola’ he proposes a narrative from a dream point of view, where everything is a product of the protagonist's mind. “Little by little, Angelina's dream comes true to reach the end of the show, in which we return to the starting point ".

At montage performances in Amsterdam and Geneva, Audiences and critics have praised both the dynamism and fine sense of humor of Pelly's staging, without forgetting the elegance of the aesthetic approach, with a predominant phosphorescent pink to embody the magic of the dream of 'La

Cinderella'.
Parallel activities
With the purpose of offering new meeting spaces for music and other artistic disciplines, this Friday 4 from December, at 7:00 p.m. in the Master Classroom, ‘Berklee a les Arts0 presents Mediterráneas’, a free proposal open to the general public, with prior reservation. This time, Berklee students invite us to reflect on different themes inspired by ‘La Cenerentola’.

On the other hand, next Monday, the Main Arts Hall will host the first ‘Preview up to 28’ of the season, an activity for which, for the first time, advance sale seats have been exhausted. A fact that, as Jesús Iglesias Noriega has highlighted, highlights both the interest of the young public for the lyric and the image of Les Arts "as a space for all audiences".

Among the activities around ‘La Cenerentola’, on Wednesday, 9 from December, the Master Classroom will host a free colloquium of the cycle ‘Perspectives’, carried out in collaboration with Amics de l’Òpera i de les Arts de la Comunidad Valenciana, in which Carlo Rizzi, Carlos Chausson and Carles Pachón will talk about this production.

'Cinderella'
Gioachino Rossini needed only three weeks to write the music for ‘La Cenerentola’. The piece was born as a commission from the young composer by the Teatro Valle de Roma after the success of ‘Il barbiere di Siviglia’. Jacopo Ferretti is the author of the text, based on the fairy tale ‘Cinderella’, by Charles Perrault and in the librettos by Charles-Guillaume Étienne and Francesco Fiorini.

It was Rossini himself who directed the premiere of the play on 25 of January of 1817. Despite the cold reception of the first performances, the work quickly achieved great popularity both in Italy and abroad. In this variation on the traditional story of Perrault, wicked stepmother is replaced by stepfather, Mr. Magnificent, and instead of the Fairy godmother Alidoro appears, philosopher and tutor to the prince. Is a
bracelet and not the popular crystal shoe that reveals Angelina's true identity, Cinderella.

Photograph: Miguel Lorenzo

Cinderella

ABAO-OLBE (Bilbao Association of Friends of the Opera) recovered for the fourth time in its history Cinderella from Rossini. This opera buffa offering a realistic tale Perrault, up on stage, sponsored by the Department of Education, Linguistic Policy and Culture of the Basque Government, the days 19, 22, 25, 26 New -open- Y 28 of November, two months before the bicentennial of its release.

it dramma giocoso, one of the most successful works of Rossini, combines the whole game composer, the coloratura, their morals and joie de vivre. To give life to the characters in this opera whose score has a bright dynamic vocalism, ABAO-OLBE has assembled a cast led by Jose Maria Lo Monaco, one of the most important mezzo-sopranos of her generation, who debuts in ABAO to play 'Angelina', beside the Uruguayan tenor Edgardo Rocha He will play the prince 'Don Ramiro' in which is its presentation in Bilbao. Beside them two known the Bilbao public as the bass-baritone Paul Bordogna in the role of 'Dandini' and the baritone Bruno de Simone as 'Don Magnifico', the debut of low petros Magoulas as 'Alidoro' and soprano returns Marta Zubieta as 'Clorinda' and mezzosoprano María José Suárez as 'Thisbe' complete the poster.

The musical part is in charge of a legend, Antonello Allemandi who has directed twenty-seven titles in seasons and ABAO 2003 he received the Gold Medal and Diamond Association. Allemandi takes charge of the Bilbao Symphony Orchestra to run the version of the master Alberto Zedda, one of the world's leading experts in the work of Rossini La Cenerentola who has defined as "the portrait of suffering humanity more, true and touching, along with Ninetta La Gazza Iadra, He has come out of his pen ". The choral part is once again task Bilbao Opera Choir, with Boris Dujin in front.

On stage a production of the Opéra fresh Toulon, dynamic, colorful and fun devised by two young French debutants ABAO, Jean Phillipe Clarac Y Oliver Deloeuil, who are also responsible for the sets and costumes. Complete creative lighting section full of chromatic ranges also debutante Rick Martin.

Opera Berri and Fair Saturday

Representation of La Cenerentola 26 of November, forms the eleventh edition of Opera Berri, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. In this role the protagonist duo is formed by the mezzo-soprano Carol Garcia and tenor Xabier Anduaga in which is its presentation in Bilbao. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 19:00 h.

He 26 November was also held the second edition of movement Fair Saturday, a day to change the world through culture. ABAO-OLBE, as the driving entity of this movement, He collaborates on this occasion giving a percentage of box office revenue function Opera Berri to the organization RAISFundación.

RAISFundación

Entity state level social initiative created in 1998 actively working in several regions and in the Basque Country through the RAIS Euskadi Association. Its main objective is to combat social exclusion and to respond to the needs of the most disadvantaged people, especially the homeless.
ABAO-OLBE RAISFundación shares with the aim of working for a more just and participatory society and contributes to this action to promote social inclusion through culture and opera.

Conference on "La Cenerentola" and tribute to Teresa Berganza

ABAO-OLBE organized on Friday 18 November at 19:15 at Guggenheim Museum Auditorium, its traditional conference introduction to opera on this special occasion will become a Conference-Tribute to Teresa Berganza.

Music critic Fernando Fraga, It will be responsible for disclosing the details of La Cenerentola and driving a tribute to the great mezzo Madrid for one hand, recognize the career of one of the most important voices of opera, and other, his extraordinary interpretations of the role of "Angelina" in this opera, which they constitute a benchmark in the history of opera.

This act takes place within the framework of collaboration ABAO-OLBE in the program run into commemorating the twentieth anniversary of the Guggenheim Museum Bilbao. Admission is free until full capacity but with prior registration.
We recommend withdraw the invitation as soon as possible at the ticket office or at the Guggenheim museum website.

Edgardo Rocha

Uruguayan tenor Edgardo Rocha will be Don Ramiro in the opera La Cenerentola in Gioacchino Rossini that will go on stage next 19 of November, in the 65 Opera Season ABAO-OLBE in Bilbao. Rocha will replace the one initially planned Javier Camarena, medical indisposition who has been forced to cancel this commitment. Rocha, que debuta en ABAO-OLBE, He has sung in the seasons of the most prestigious theaters in the world. His main roles include: Gianni of Paris at Wexford Opera Festival; The Cinderella in Cagliari, Lombardy, Seattle, Stuttgart, Sevilla, Lausanne; Don Pasquale in Florence and Verona; Cosi fan tutte in Naples and Turin; L’Italiana in Algeri en Bari y Viena; La scala di seta and Otello in Zürich; The Barber of Seville en Viena, Valencia, Madrid, Lausanne, Munich, Dresden, Paris, Tel-Aviv, Hamburg, Verona, Roma; La Gazzetta in Liège; The Turk in Italy en Turín; Otello in Paris, Salzburg and Milan; The trip to Reims en Zürich; Pearl fishermen in Nancy; The Puritans in Stuttgart; The Jewess in Munich.

His interpretation of Don Ramiro in the film “La Cenerentola, una favola in diretta ”by Anderman staged by Verdone and directed by Gelmetti. His upcoming commitments include: La Cenerentola on tour in Europe, The Donna of the lake in Salzburg, The gazza barks and Don Pasquale in Milan, The Turk in Italy en Zürich, The Barber of Seville in Munich y Anna Bolena in Lausanne.

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