# La Cenerentola



## Cypress (Dec 19, 2014)

I loaned out the DECCA DVD 1996 Houston Symphony with Bartoli, Dara, Gimenez, Corbelli and Pertusi over the weekend. 

This was my first Rossini opera to be viewed. The DVD did not come with a libretto, only a synopsis of the acts. The subtitles were available in English. 

I was impressed with Rossini's ability to weave an aria, into a duet, into an ensemble and back again throughout the performance. Not sure if I am using proper terms but the flow from one person, to others was complex but looked flawless. The transitions were smooth and made for a different opera experience. My experience of opera is mostly Mozart. 

I thought the music was okay and while it advanced the story at times, it was only in the background. Some of the codas were repetitive but, overall, I am looking forward to loaning out another Rossini opera. The last aria by Angelina was quite satisfying. It was her moment to shine I suppose and display Bartoli's fantastic coloratura. Overall, the opera was a success and helped me better understand what opera buffa is. I would recommend this one as a first opera to a newbie like myself. 

I loved Dandini and Don Magnifico. The performers did an outstanding acting job bringing them to life. The set, costumes and entire production was first class.


----------



## Bellinilover (Jul 24, 2013)

It's my all-time favorite opera, and that DVD is one of my favorite opera DVDs, so I'm happy that the experience was enjoyable for you! Visually speaking, it certainly is a beautiful production, and I imagine the way it's staged is sort of like how operas were staged in Rossini's time. In other words, it's rather a "static" production, but beautiful to look at as I said.

Yes, Alessandro Corbelli is a classic Dandini. In fact, Corbelli is my favorite _buffo_ singer ever. Raul Gimenez (the prince) is wonderful, too.

I'm probably not a great judge of musical quality, but I think the music to _Cenerentola_ is excellent in context if not quite as spectacular when excerpted as that of _The Barber of Seville_. On the other hand, since you like Mozart I can see why you liked _Cenerentola_, because of Rossini's "big three" comic operas (the others being _The Barber_ and the _Italian Girl in Algiers_), it's certainly the most Mozartean if you associate seriousness with Mozart. Which is ironic, because _Barber of Seville_ is the "prequal" to Mozart's _Marriage of Figaro. _

Another more serious Rossini comedy you might want to check out is _Il Turco in Italia. _ There's a CD recording with Bartoli and Corbelli.


----------



## SixFootScowl (Oct 17, 2011)

That is a wonderful Opera and I highly recommend you watch the one staring Frederica von Stade (conducted by Abbado). von Stade is the perfect Angelina (Cinderella). Here is the finale on You Tube. Here is a duet between Angelina and the Prince (who is an excellent tenor). And here is the whole opera on You Tube. All the singers in this performance are excellent! And the acting is great.


----------



## Tsaraslondon (Nov 7, 2013)

Bellinilover said:


> Another more serious Rossini comedy you might want to check out is _Il Turco in Italia. _ There's a CD recording with Bartoli and Corbelli.


There is nothing serious about it though in the Callas studio recording, which fizzes and sparkles like a good champagne. OK, so the edition used wouldn't bear close scrutiny, but it has a deeper authenticity of style that eludes most of the more modern performances.


----------



## Marschallin Blair (Jan 23, 2014)

GregMitchell said:


> There is nothing serious about it though in the Callas studio recording, which fizzes and sparkles like a good champagne. OK, so the edition used wouldn't bear close scrutiny, but it has a deeper authenticity of style that eludes most of the more modern performances.


If I may?

Corrigendum: "the Callas studio recording, which fizzes and sparkles like the _BEST_ champagne."

Callas' saucy and minxy flirtiness coupled with her perfectly unforced and natural technique make it a clear first choice for me.

She just has more insight, more sensibility, and more craftsmanship at every level in this.


----------



## Cypress (Dec 19, 2014)

Correction, apparently, this is typically referred to as a dramma giocoso not an opera buffa. I translate that to mean a playful drama. I suppose it isn't funny what's happening to Cinderella, not at all. But, the characters of Dandini and Magnifico gave me the impression of buffa as they are perfect baffoons. I should say, Dandini in the role of the Prince is highly amusing and I couldn't take my eyes off him. Something in his posture and bearing that was striking. The banter between Prince Ramiro and Dandini was fun in switched roles. 

There is a scene where Don Magnifico is asking Dandini in the role of the Prince, who his choice is for a bride? Which daughter? Dandini makes a pass at Don Magnifico and it appears that although surprised, Don Magnifico seems willing to go along with it. This was funny. It was a complete surprise and I came away thinking that the libretto by Jacopo Ferretti was quite well crafted. Is that original to the opera? I am learning that a well written libretto can really make an opera shine. I also think that's why I thought it a buffa and not the dramma giocoso.


----------



## Tsaraslondon (Nov 7, 2013)

My and MB's responses were to Bellinilover's post about *Il Turco in Italia* being a more serious Rossini comedy. It is billed as an _opera buffa_.

*La Cenerentola* is indeed a _dramma giocoso_.


----------



## Becca (Feb 5, 2015)

I have had the Teresa Berganza/Claudio Abbado version of Cenerentola forever and always thought that Paolo Montarsolo was the ultimate buffo. Recently I saw the Metropolitan production with Elena Garanca & Lawrence Brownlee and if you ignore the rather silly bits in the staging, it comes a very, very close second. Garanca may not have the perfect Rossini voice (she admits that her trill is difficult) but she is still fabulous. This is one case where second is still fantastic.

P.S. Yes I have seen both Bartoli and Von Stade, who are also high on my list.


----------



## Retired (Feb 15, 2015)

Paolo Montarsolo was made for buffo parts....a gifted actor with a thousand expressions. I did Cenerentola with him and Flicka and it was magical....Araiza in his early days was a magnificent prince. Great fun. I only understood the magic of Frederica von Stade after working with her....she shimmered...energy...and a very warm presence.


----------



## SixFootScowl (Oct 17, 2011)

Becca said:


> I have had the Teresa Berganza/Claudio Abbado version of Cenerentola forever and always thought that Paolo Montarsolo was the ultimate buffo.


I have the Abbado/Berganza on CD and it is wonderful. Shares 3 singers with the Abbado DVD.

If you search You Tube there is a La Serva Padrona (Pergolesi)with Anna Moffo and Paolo Montarsolo from the 50s that is wonderful.


----------



## Bellinilover (Jul 24, 2013)

GregMitchell said:


> My and MB's responses were to Bellinilover's post about *Il Turco in Italia* being a more serious Rossini comedy. It is billed as an _opera buffa_.
> 
> *La Cenerentola* is indeed a _dramma giocoso_.


Yes, _Turco_ is billed as an opera buffa. However, I think it contains a great deal of pathos in the character of Don Geronio, especially as Corbelli sings him. Also, that scene at the masquerade party seems straight out of Mozart, dramatically speaking.


----------



## Yashin (Jul 22, 2011)

Bellinilover said:


> Yes, _Turco_ is billed as an opera buffa. However, I think it contains a great deal of pathos in the character of Don Geronio, especially as Corbelli sings him. Also, that scene at the masquerade party seems straight out of Mozart, dramatically speaking.


I agree the Houston DVD is a romp and all the major roles are nye on perfect. I love Enzo Dara and Corbelli and yes, Raul Gimenez is a sublime Rossini tenor


----------



## Azol (Jan 25, 2015)

Seconding the recommendation of Ponnelle DVD, it is a definitive La Cenerentola!


----------



## Cypress (Dec 19, 2014)

In Italian, Cenerentola means Cinderella or a nobody or a stray dog. Now that's mean.

Perhaps because I knew the outcome for Angelina, I wasn't half as interested in her as I was in Dandini. I am trying to remember which stock character in Opera Dandini represents? Is he on par with a Figaro? A hard working ordinary person with extraordinary smarts to be able to keep a comfortable position in the Prince's household. He is a servant, but he's many steps above a scullery maid. He is a valet. Wasn't Figaro a valet too? 

Yes, I know Rossini also composed the Barber of Seville.


----------



## Retired (Feb 15, 2015)

I was also very partial to Agnes Baltsa as Angelina...she was also very appealing in the character. She certainly could rip through all the little notes...her final aria was always thrilling.


----------



## SixFootScowl (Oct 17, 2011)

An Amazon reviewer noted that musically La Cenerentola and Barber of Seville have much similarity. Does this make sense?


----------



## Pugg (Aug 8, 2014)

Florestan said:


> An Amazon reviewer noted that musically La Cenerentola and Barber of Seville have much similarity. Does this make sense?


Not at all, the Barber is a funny story and Cenerentola is a fairy tale.
Perhaps he/ she means that all Rossini music has similarities.


----------



## SixFootScowl (Oct 17, 2011)

I do see some similarities between La Cenerentola and Barber of Seville:

In both, the leading ladies (Angelina / Rosina) are oppressed by mean spirited caretakers.

In both, the leading gentlemen (Prince Ramiro / Count Almaviva) do not want theri high position known until they gain the love of the lady for themself, not their riches.

Then it gets a little more complicated because Figaro in the Barber is kind of a combination of two characters in Cenerentola: Dandini (for spunkiness) and Alidoro (for getting the prince to the lady).

In both operas, the leading gentlemen rescue and marry the leading lady.

In both operas the man in control of the leading lady is deceived by the leading man and his helpers.

The tune for the aria Non più mesta de La of Cenerentola was once part of the Barber, and later removed, though some recordings still include it.

But then, these similarities may be just because such events are common to many operas and have little to do with these particular two operas being similar.


----------

