| La Cenerentola | |
|---|---|
| Dramma giocoso byGioachino Rossini | |
 Cover of thelibretto, 1817 | |
| Other title | La Cenerentola, ossia La bontà in trionfo |
| Librettist | Jacopo Ferretti |
| Language | Italian |
| Based on | Cendrillon byCharles Perrault |
| Premiere | |
La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness Triumphant") is anoperaticdramma giocoso in two acts byGioachino Rossini. Thelibretto was written byJacopo Ferretti, based on the libretti written byCharles-Guillaume Étienne for the operaCendrillon with music byNicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini forAgatina, o la virtù premiata [it] with music byStefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy taleCendrillon byCharles Perrault. Rossini's opera was first performed in Rome'sTeatro Valle on 25 January 1817.
In this variation of the fairy tale, the wicked stepmother is replaced by astepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her silver bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto simply for ease of staging.
Rossini composedLa Cenerentola when he was 25 years old, following the success ofThe Barber of Seville the year before.La Cenerentola, which he completed in a period of three weeks, is considered to have some of his finest writing for solo voice and ensembles.
According to the account given by librettistJacopo Ferretti, the genesis of this work – whose literary and musical aspects were both created with surprising speed – began in December 1816. Rossini was in Rome and tasked with writing a new opera for theTeatro Valle, to be staged onSaint Stephen's Day. An existing libretto,Francesca di Foix, had unexpectedly been vetoed by the papal censor, leaving no time to amend the text so that it might satisfy all parties involved (censorship,impresario, and authors). A replacement would have to be found.
Ferretti, despite harboring some ill-will against Rossini (the maestro had refused a libretto of his forThe Barber of Seville), nonetheless met with the composer and theimpresario Cartoni and agreed to join the project. However, when he began to suggest topics for the new work, one after another was rejected: too serious for the Carnival season in which the opera would premiere; too frivolous; too expensive and difficult to stage. Ferretti proposed more than two dozen subjects without success.
Finally, between yawns, and with Rossini half asleep on a sofa, the poet mentionedCinderella. At this, Rossini roused himself sufficiently to challenge Ferretti on whether he dared write a libretto for the tale; Ferretti retorted with a dare for Rossini to clothe it in music. Rossini then asked the librettist if he had some verses ready to start working on. Ferretti replied, "despite my tiredness, tomorrow morning!" The composer nodded, wrapped himself in his clothes, and fell asleep.
Ferretti worked through the night and had the first parts of the work ready as promised in the morning. He finished the libretto in twenty-two days of breakneck work, and Rossini completed the score in an equally hectic twenty-four days. Rossini saved some time by reusing anoverture fromLa gazzetta and part of anaria fromThe Barber of Seville and by enlisting a collaborator, Luca Agolini, who wrote the seccorecitatives and three numbers (Alidoro's "Vasto teatro è il mondo", Clorinda's "Sventurata! Mi credea" and the chorus "Ah, della bella incognita").
The poet had serious doubts about the success of this opera; Rossini, on the other hand, predicted that it would conquer Italy in a year and spread to France and England in another: "the impresarios will fight for staging it, as well as theprima donnas for being able to sing it".
La Cenerentola premiered on 25 January 1817, and quickly gained popularity both in Italy and internationally, despite a cold initial reception by the critics. In short, Rossini's prediction came entirely true, andCenerentola soon overshadowed evenBarber throughout the nineteenth century.
The facsimile edition of the autograph has a different aria for Alidoro, "Fa' silenzio, odo un rumore"; this seems to have been added by an anonymous hand for an 1818 production. For an 1820 revival in Rome, Rossini wrote abravura replacement, "Là, del ciel nell'arcano profondo".
DespiteLa Cenerentola's success, the collaboration between composer and librettist got no easier, and Ferretti wrote only one more libretto for Rossini,Matilde di Shabran, in 1821.
19th century
At the first performance, the opera was received with some hostility,[1] but it soon became popular throughout Italy and beyond; it reached Lisbon in 1819,[2] London in 1820, Paris in 1822 and New York in 1826. Throughout most of the 19th century, its popularity rivalled that ofBarber, but as thecoloraturacontralto, for which the leading role was originally written, became rare, it fell slowly out of the repertoire.
20th century and beyond
In the years followingGlyndebourne Festival's celebrated 1952 revival, conducted byVittorio Gui, and recorded forLP byEMI, Rossini's work enjoyed a renaissance, and a new generation of Rossinimezzo-sopranos ensured thatLa Cenerentola would once again be heard around the world. The opera is now considered a staple of the standard repertoire.[3]
| Role | Voice type | Premiere cast, 25 January 1817 Conductor: Gioachino Rossini |
|---|---|---|
| Angelina (Cenerentola,Cinderella) | contralto ormezzo-soprano | Geltrude Righetti |
| Don Ramiro,Prince of Salerno | tenor | Giacomo Guglielmi |
| Dandini,valet to the Prince | baritone | Giuseppe de Begnis |
| Don Magnifico,Baron of Montefiascone and Cenerentola's stepfather | bass | Andrea Verni |
| Alidoro,philosopher and the Prince's former tutor | bass | Zenobio Vitarelli |
| Clorinda,Don Magnifico's elder daughter | soprano | Caterina Rossi |
| Tisbe,Don Magnifico's younger daughter | mezzo-soprano | Teresa Mariani |
| Courtiers from Prince Ramiro's palace | tenors, basses | |
Angelina, known to her stepfather and stepsisters as "Cenerentola," is forced to serve as the maid in her own home. She sings of a king who married a common girl chosen for her kindness against the beauty and adornment of her competitresses ("Una volta c’era un rè"). A beggar arrives; her stepsisters, Clorinda and Tisbe, want to send him away, but Cenerentola gives him bread and coffee. Courtiers follow, announcing that Prince Ramiro will visit while he searches for the most beautiful girl in the land to wed. Cenerentola's stepfather, Don Magnifico, hopes to use this as an opportunity to save his own failing fortune.
When the room is empty, Ramiro enters alone, disguised as a valet. The "beggar" – in fact, his tutor, Alidoro – has informed him of a goodhearted young woman spotted here. Ramiro intends to find her incognito. Cenerentola returns, and she and Ramiro are attracted to each other (duet: "Un soave non-so che"), but when he asks who she is, she is overwhelmed and flees.
Finally, the "prince" arrives – the real valet, Dandini, who has taken his master's place – and Magnifico, Clorinda, and Tisbe fall over themselves to flatter him. He invites the family to a ball that evening, where he plans to find his bride; Cenerentola asks to join them, but Magnifico refuses (quintet: "Signor, una parola"). This callousness is not lost on Ramiro. Alidoro returns to inquire after a third daughter in the house; Magnifico claims she has died and stealthily threatens to murder Cenerentola if she reveals herself. Left alone with Cenerentola, Alidoro promises to take her to the ball himself and that God will reward her kindness ("Là del ciel nell’arcano profondo").
The prince and his valet have retired to Ramiro's country house in some confusion, as neither of Magnifico's daughters resembled the worthy bride Alidoro had described. When Clorinda and Tisbe arrive, Dandini gives them a little test: he offers his "valet" to whichever sister the "prince" does not marry. The ladies are outraged at the idea of marrying a servant. Alidoro then arrives with a beautiful, unknown lady who strangely resembles Cenerentola. Unable to make sense of the situation, they all sit down to supper, feeling like they are in a dream.
Magnifico frets over the competition his daughters now face from the strange lady ("Sia qualunque delle figlie"), but Cenerentola is not interested in the "prince," saying she has fallen in love with his servant. An overjoyed Ramiro steps forward; however, Cenerentola tells him that she is going home and does not want him to follow her. If he really cares for her, she says, he will find her, giving him one of a matching pair of bracelets.[a] The prince determines to do exactly that ("Sì, ritrovarla io giuro").
Meanwhile, Magnifico confronts the disguised Dandini, insisting that he choose one of his daughters to marry. Dandini tries to stall but is forced to admit that he is actually the valet and not the prince at all (duet: "Un segreto d’importanza").
A furious Magnifico and his daughters return home, where they order Cenerentola, back in rags, to serve them. A storm is thundering outside. Alidoro sabotages Ramiro's carriage so that it breaks down in front of Magnifico's manor, forcing the prince to take refuge within. Ramiro recognizes Cenerentola's bracelet on her right arm; the others comment on the situation (sextet: "Siete voi?"). When Ramiro threatens Cenerentola's recalcitrant family, she asks him to forgive them.
Ramiro and Cenerentola are married and celebrate their wedding at the palace. Magnifico tries to win the new princess's favor, but she asks only to be acknowledged, at last, as his daughter. She reflects on the misfortune to which she was born and the sudden reversal of her fate, then forgives her family for all her past unhappiness, adding that her days of sitting sadly by the fire are over ("Nacqui all'affanno... Non più mesta"). Everyone present acknowledges that she truly is worthy of the throne.[5]
| Year | Cast: Cenerentola, Clorinda, Tisbe, Don Ramiro, Dandini, Don Magnifico | Conductor, Opera house and orchestra | Label:[6] |
|---|---|---|---|
| 1953 | Marina de Gabaráin, Alda Noni, Fernanda Cadoni, Juan Oncina, Sesto Bruscantini, Ian Wallace | Vittorio Gui, Orchestra and Chorus of theGlyndebourne Festival Opera | CD:EMI The Opera series Cat: 0288462 |
| 1963 | Giulietta Simionato, Dora Carral, Mitì Truccato Pace, Ugo Benelli, Sesto Bruscantini, Paolo Montarsolo | Oliviero De Fabritiis, Orchestra and Chorus of theMaggio Musicale Fiorentino | CD:Decca Grand Opera series Cat: 433 030-2 |
| 1971 | Teresa Berganza, Margherita Gugliemi, Laura Zannini, Luigi Alva, Renato Capecchi, Paolo Montarsolo | Claudio Abbado, Scottish Opera Chorus –London Symphony Orchestra | CD:DG Cat: 423 861-2 |
| 1976 | Lucia Valentini Terrani, Margherita Gugliemi, Laura Zannini, Luigi Alva, Enzo Dara, Paolo Montarsolo | Claudio Abbado, Teatro alla Scala di Milano Orchestra and Chorus (Audio recording of a performance atCovent Garden, London) | CD: Gala Cat: 100.544 |
| 1977 | Bianca Maria Casoni, Giovanna di Rocco, Teresa Rocchino, Ugo Benelli, Sesto Bruscantini, Alfredo Mariotti | Piero Bellugi, Chor der Staatsoper Berlin –Rundfunk-Sinfonieorchester Berlin | CD: Acanta Cat: LC 4883 |
| 1980 | Susanne Marsee, Gianna Rolandi, RoseMarie Freni, Rockwell Blake, Alan Titus, James Billings | Brian Salesky, New York City Opera Orchestra and Chorus | DVD: Premiere Opera Cat: 6825 |
| 1981 | Frederica von Stade, Margherita Guglielmi, Laura Zannini, Francisco Araiza, Claudio Desderi, Paolo Montarsolo | Claudio Abbado, Teatro alla Scala Orchestra and Chorus Director:Jean-Pierre Ponnelle | DVD: DG Cat: 073 4096 |
| 1983 | Kathleen Kuhlmann, Marta Taddei, Laura Zannini, Laurence Dale, Alberto Rinaldi, Claudio Desderi | Donato Renzetti, Glyndebourne Festival Opera and Chorus –London Philharmonic Orchestra (Video recording of a performance atGlyndebourne, England) | DVD: Kultur Cat:ISBN 0-7697-2258-X |
| 1987 | Agnes Baltsa, Carol Malone, Felicity Palmer, Francisco Araiza, Simone Alaimo, Ruggero Raimondi | Neville Marriner, Ambrosian Opera Chorus –Academy of St Martin in the Fields | CD: Decca Cat: 470 580-2 |
| 1988 | Ann Murray, Angela Denning, Daphne Evangelatos, Francisco Araiza, Gino Quilico, Walter Berry | Riccardo Chailly, Vienna State Opera and Chorus –Vienna Philharmonic (Video recording of a performance at theSalzburg Festival) | DVD:ORF & RM Arts Cat: ID9238RADVD |
| 1993 | Cecilia Bartoli, Fernanda Costa, Gloria Banditelli, William Matteuzzi, Alessandro Corbelli, Enzo Dara | Riccardo Chailly, Orchestra and Chorus of theTeatro Comunale di Bologna | CD:Decca Records Cat: 436 909-2 |
| 1995 | Cecilia Bartoli, Laura Knoop, Jill Grove, Raúl Giménez, Alessandro Corbelli, Enzo Dara | Bruno Campanella, Houston Grand Opera and Chorus –Houston Symphony (Video recording of a live performance from theWortham Theater Center, Houston, Texas, November) | DVD: Decca Cat: 071 444-9 |
| 1995 | Jennifer Larmore, Adelini Scarabelli, Laura Polverelli, Raúl Giménez, Gino Quilico Alessandro Corbelli | Carlo Rizzi, Royal Opera House Orchestra andCovent Garden Opera Chorus | CD:Teldec Cat: LC 6019 |
| 1996 | Jennifer Larmore, Jeannette Fischer, Claire Larcher, Rockwell Blake, Alessandro Corbelli, Carlos Chausson | Maurizio Benini, L'Opéra National de Paris Orchestra and Chorus (Video recording of a performance in the Palais Garnier, Paris, April) | DVD: Encore Cat: DVD 3265 |
| 2004 | Joyce DiDonato, Patrizia Cigna, Martina Borst, José Manuel Zapata, Paolo Bordogna, Bruno Praticò | Alberto Zedda, Orchester des Südwestfunks Kaiserslautern and Prague Chamber Chorus (Recording of a performance at theRossini in Wildbad Festival, 13 November) | CD:Naxos Records Cat: 8.660191-92 |
| 2005 | Ruxandra Donose, Raquela Sheeran, Lucia Cirillo, Maxim Mironov, Simone Alberghini, Luciano Di Pasquale | Vladimir Jurowski, London Philharmonic Orchestra and The Glyndebourne Chorus; directorPeter Hall (Recording of performances at theGlyndebourne Festival Opera, 2 & 4 June 2005) | DVD:Opus Arte Cat: OA 0944 D (The 2-DVD set includes 'Insights' feature, interview with Jurowski and Hall)[7] |
| 2007 | Joyce DiDonato, Cristina Obregón, Itxaro Mentxaka, Juan Diego Flórez, David Menéndez, Bruno De Simone | Patrick Summers, Orchestra and Chorus of the TeatroLiceu (Barcelona) (Video recording of a performance (or of performances) in the Teatro Liceo, Barcelona, December) | DVD: Decca Cat: 074 3305 and 074 3333 (Blu-ray) |
| 2009 | Elīna Garanča, Rachelle Durkin, Patricia Risley, Lawrence Brownlee, Simone Alberghini, Alessandro Corbelli | Maurizio Benini, Metropolitan Opera Orchestra and Chorus (Audio and video recordings made at a performance (or at performances) at the Met, May) | CD: Celestial Audio Cat: CA 908; DVD: DG Cat: 073 4777 |
| 2020 | Serena Malfi, Damiana Mizzi, Annunziata Vestri, Juan Francisco Gatell, Vito Priante, Alessandro Corbelli | Alejo Pérez, Rome Opera orchestra and chorus,Emma Dante, stage director | DVD:C Major Cat:752408 |
Notes
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