Rossini - La Cenerentola

Roberto de Simone's intimate, 1790's LA CENERENTOLA for the Teatro Communale di Bologna was presented at Houston Grand Opera in 1994 and telecast the following year. The production is one of the most beautiful I have ever seen of an opera; the sets and costumes look like fanciful children's book illustrations. True, the direction is often rather static; but de Simone's aim seems to have been to create a truly "period" staging - a production that might have been put on in Rossini's own time. Bruno Campanella's effervescent conducting is in keeping with this chamber-opera feel: it may lack something in dramatic weight (CENERENTOLA is perhaps the most "serious" of Rossini's comedies), but at least the maestro never Romanticizes Rossini, never tries to make the music sound like something it is not.The telecast was Cecilia Bartoli's American TV debut, and as Angelina she completely justified the "hype" that surrounded her at the time. Her mezzo is a marvel: multi-hued and shaded, clear and delicate, yet quite dramatic where it needs to be (in the Quintet, for example). She inhabits the character of Cenerentola, as does Raul Gimenez that of Prince Ramiro. His and Bartoli's Act I duet ("Un soave non so che") is an oasis of calm in a witty Rossinian fairy tale. The almost heroic weight of which Gimenez's voice is capable is all the more effective in contrast to his exquisitely soft and subtle singing in the greater portion of the opera.The supporting cast includes Enzo Dara (Don Magnifico), Alessandro Corbelli (Dandini), and Michele Pertusi (Alidoro). Corbelli's Dandini has since become legendary (a British critic once called it one of the finest operatic characterizations of our day), and here one can see why: it is subtle, humorous, and very richly sung. Veteran buffo Dara as the stepfather looks like Ed Wynn (of MARY POPPINS and "I Love to Laugh" fame). Unfortunately, there are times during the performance when I almost think I would rather hear Ed Wynn sing the role; Dara's voice at first sounds fresh and strong, but in Act II he hits some incredible "clinkers." Along with this his acting tends to be too silly; altogether, he is no match for Corbelli's subtlety in their Act II duet. (Dara's card-throwing in his third aria is a rare instance of inspired silliness, particularly in combination with his perfect patter.) Young bass Pertusi, however, provides plenty of vocal freshness in his lengthy, wonderful aria "La del ciel." His voice, not large, is dark in color and amazingly agile. Laura Knoop and Jill Gove have pure, Rossinian voices and much character as the stepsisters.Having loved this CENERENTOLA on videotape for several years, I was thrilled to receive the DVD, with its perfect sound and picture quality. The Bologna/HGO CENERENTOLA is a beautiful production that one can enjoy again and again. I treasure it!

I see at this late date, there are plenty of reviews with the usual variation in opinion. Natural, since none of us see or hear the same production, none of us weigh elements in the same way. On the less than positive side, I found the scenic design rather depressing even in the scenes in which that was not the intended result. Clearly the design which was reasonable for the cinders scenes could not be adequately brightened for the palace scenes. With a pang of guilt, given their lowly status, I found the chorus and other supportive players, rather poorly molded into appropriate presences. No fault of theirs, of course, and the chorus did sing well. These were only slight distractions, however, from the impact of Rossini well sung and more than adequately played. That Dara displayed a failing voice is news to me. Perhaps my ordinary sound system (and less than ordinary hearing) did not catch nuances; for he not only acted superbly the role of a traditional Italian actor-singer playing Don Magnifico, he sounded marvelously well singing the part. The Prince and his Valet were admirably handled by Gimenez and Corbelli.All involved are to be congratulated on allowing Rossini to be heard as he should be in the various individual and group songs that he created. These all were delivered with the elan required to give us the kind of kick that rock concerts must give their adherents.Oh, yes, Bartoli. I suppose she did look far too healthy for an oppressed menial. Yes, I did notice what one would not notice from my seats at an opera, she had not at that time mastered, what I assume is quite difficult, creating the broad expression necessary for live theater while at the same time not overdoing what the camera closeup will amplify. Did you really care when she sang, were you not stirred by her true star quality in the concluding aria which roused the audience to a peak....as it did me as well. That was a star at work and what a pleasure to see and hear.

Cecilia Bartol's singing was sensational. But the production wasn't a good one. It didn't bring out the comical effect of this buffa.

Great production with a first rate cast headed by the great Cecilia Bartoli.

Of all the operas we have seen, this is the one that we keep repeating. Rossini has fun with the Italian language with Nel volto estatico, the knot. Subtitles sometimes have to be quick, so you may want to repeat watching to catch them all. The language and subject matter is appropriate for all ages. This is a version of the original European tale of Cinderella; not the Disney fairy godmother and pumpkin version. Also we are used to singers sliding from note to note, but this cast sings every individual sixteenth note squarely on. You'll get used to it. It's well worth the fun.

In terms of Rossini, after Horne, only Bartoli.I have not seen the Von Stade/Ponelle version, but this one is a world in itself. A simple yet functional staging. Appropiately ridiculous costumes. But most of all, a dream cast headed by Bartoli, whose joy of singing simply leaps at the viewer. Gimenez, Dara And Corbelli are all perfect, as are the sisters. In this brave new world of operatic closeups, all of them shine not only as singers but also as comic actors. And since I mentioned Horne--I have paired Cenerentola with L'Italiana in Algieri, that classic interpretation which I enjoyed more than once at the Met, and is now fortunately also available. That's what I call a double feature!

Beautiful

Awesome. I bought it used but flawless

Parfat

I have 3 DVDs with this opera. I was anxious the watch this one after checking some youtube videos. I had high hopes, and maybe that's why I don't give this production 5 stars. And it's not the production per se, but my biggest "problem" was with Angelina. I love, love Cecilia Bartoli. But I found her distracting in this role. Acting was impeded by Cecilia's way of grimaces when singing. The result changed the appearance of what it was supposed to be a humble, pure Cinderella. I loved Giménez' Don Ramiro, but I couldn't find much chemistry between him and Angelina. It was not his fault, but again, Cecilia acting more like in a concert, though she is a very good actress. Enzo Dara, was much better than in his Bartolo role, still I prefer other Don Magnificos.My big ovations go to Alessandro Corbelli. His Dandino is hilarious, and his singing is exquisite.I also loved young Michele Pertussi, singing the dark witted Alidoro. It is a classic take on this tale which I liked. The singing was very good. I was happy the DVD is 16/9 and the image fit my HDTV screen.All around this is a good Cenerentola, but not the best, as it bears fierce competition...I found both Ponelle's film and Donose/Mironov's Cenerentola superior in singing and acting.

I have owned this recording for a number of years and have had much pleasure from it. There is not a weak member of the cast either as singers or as actors. This is an earlier Bartoli performance form 1996 so it has a warmer and gentler approach than some of her more driven/dramatic recent productions. I find this to be an advantage. One of the main extra attractions is the great comic talent of the two step-sisters who really shine here.However, the recording quality is now starting to show its age so it has only been a matter of time before a better recorded, but equally successful, challenger would appear. And so it has. This is in the form of the recent Glyndebourne performance which has all the virtues of the Bartoli version plus, to my mind, a more appealing Cinderella character. We also get high definition technology which is at its best, as always, in the Blu-ray format.So I have finally sold my Bartoli version after years of pleasure and am now content to watch the Glyndebourne production instead, aware of the clear technical advances which have occurred between the two. Something for future purchasers to consider perhaps.