Rossini: La Cenerentola - Metropolitan Opera

After viewing a number of versions of La Cenerentola on YouTube, I finally decided to buy this one, and the more I watch and listen to it, the more impressed I am with it, both for the singers and for the staging. I do have a couple of quibbles, which I'll mention at the end, but on the whole this is the best Cenerentola I've ever seen. I've watched it all the way through four times since I bought it, and it improves with every viewing.The voices, of course, are wonderful; Brownlee is unquestionably one of the best Rossini (and Donizetti and Bellini) tenors today, and Garanca's voice seems to soar effortlessly from her. But the amazing thing is how well the characters are developed vocally and emotionally. Most importantly, this is the only production I've seen where I've actually believed in the reconciliation at the end, and in Cenerentola's "happily ever after." In some productions, for example, Don Magnifico is so maliciously abusive all the way through that it's impossible to believe in his "repentance" at the end, any more than in his tears earlier when he claimed that the third sister had died. In one version, Cenerentola was so beaten down and hangdog all the way through that I couldn't believe she was capable of being happy, even after her marriage to the prince. But the worst, I think (and some people here will probably jump all over me for this), was the ending of the Florez/DiDonato version. No, I didn't mind the crazy costumes in this one, and I even liked the mice; they helped keep everything light-hearted. And of course Florez and DiDonato sing beautifully. What I hated was Cenerentola's being left alone on stage with her mop at the end, with the implication that the whole thing has been just a dream. (Okay, so she's still wearing the bracelet. The fact remains that we've just SEEN the prince leaving her alone on stage and everyone carting off all the furntiture. This is a visual message of abandonment and deprivation. The message seems to be: "Dream all you want, but when you wake up you'll be back in the ashes again." This is especially cruel after Cenerentola's aria in which she sings that her years of pain were all a dream.)Oops, I seem to have strayed from the Brownlee/Garanca production. Sorry. I spent thirty years teaching medieval and Renaissance drama, and I tend to be very conscious of visual messaging in staging.So. Back to the production at hand. One of the things that makes the ending of this version so believable is that all the way through, the sisters and father have knocked each other around as much as they've knocked Cenerentola around, and a few minutes after smacking, kicking, shoving, and otherwise "abusing" each other, they're showing great affection for each other. They're a very physical, rough-and-tumble family -- and in the way Garanca plays Cenerentola, not just feisty but with a touch of mischief in the way she sometimes actually goads the sisters, it seems as though what she really wants is to join in the fun, i.e., get the affection along with the fighting. The ending, then, is brilliant: Cenerentola serves her stepfather and stepsisters slices of the wedding cake -- not as a servant, this time, but as a hostess -- and then Tisbe feeds Cenerentola a forkful of cake from her own portion. Bingo. Brilliant. The family has accepted Cenerentola's forgiveness, and Cenerentola has been accepted into the family. I love it.In this regard, I think the "cartoonishness" of the sisters that a couple of people have noted here is part of what makes the ending work. (And in fact Rachelle Durkin, who sings Clorinda, strikes me as a natural comedienne, something like Imogene Coca in her best days.) Also, casting Corbelli as Don Magnifico instead of as Dandini works as well: he, too, is too buffoonish and out of his depth to be taken seriously as a villain, especially with Dandini tamed down to a more subtle brand of comedy by Alberghini. Everything is just marvelous about this production ... except ...Okay, two quibbles. First, Alidoro is too young and attractive. It's unsettling when someone apparently Cenerentola's age calls her "figlia," and when I first saw her snuggle up to him after the first part of his "La del ciel" aria, I was a bit taken aback; she seemed to be switching her affection from one young man (Ramiro) to another (Alidoro). At least they could have greyed Relyea's hair. (But I loved the visual pun on his name: ali d'oro = gold wings.) Second, and I hate to say this because I love both Brownlee and Garanca, there just doesn't seem to be much chemistry between Cenerentola and Ramiro until halfway through, when Ramiro sidles up to her during the banquet at the ball. Sigh. Other than these two quibbles, though, this is a brilliantly sung and staged La Cenerentola, and I keep watching it over and over again.

This 2009 HD version of MET's Rossini's popular piece has since generated much controversy and debate.I for one approached initially this with much caution, having been forewarned by the considerable informed reviews of this, principally on the sets and then on the protagonist, particular in the person of Brownlee's Prince Ramiro.I owned the Bartoli-Gimenez 1980's DVD, and the DVD of Didonato-Florez also of 2009. I have also seen, though not owned, the deluxe Glyndebourne production, with also Alberghini as an outstanding Dandini.I must say that this MET version clearly outshone all the other three by far.First about the production. This certainly lacks the sheer visual splendor of the beautiful Glyndebourne production, but is still well above the acceptable level considering the Liceu production's bizarre sets.In the lead role, direct comparisons may be made between the illustrious Bartoli/Gimenez and Didonato/Florez with the present production.I find both Didonato and Garanca to be superior to Bartoli in terms of vocal performances, both being more florid and well-articulated. In the visual terms, Garanca is a stunning Cenerentola, appropriately tuned-down in the earlier part, but amazingly gorgeous in her scenes of glory. Bartoli is also very convincing, much more so than Didonato in the Liceu production.But what gives this MET production its flying colours is the wonderful teamwork put in by ALL sectors - director Gary Halvorson, conductor Benini, the MET chorus, and ALL those taking singing parts, be it leading protagonists or those in supporting roles.As the major supporting roles, Alessandro Corbelli and Simone Alberghini deserve the highest credit as the vainglory father and sham prince. Both Italian baritones sing in great bel canto style, with spitfire agility and terrific articulation. Their solos, duets, ensembles are all coupled with thoroughly hilarious vocal and physical acting, presenting the Italian buffo operatic style in the most exemplary sense. Both men look their parts, sing their parts, act their parts with flying colours.As the weird sisters of La Cenerentola, Risley and Durkin are both highly effective, pouring in every ounce of their musical and dramatic commitment into their performances. John Relyea was luxurious casted in the relatively small role.Then we come to the leading roles, Elina Garanca as Angelina and Lawrence Brownlee as Ramiro.Garanca is probably without a doubt the best Cenerentola currently available. Her understated and natural beauty lends much credibility to the role of the underdog daughter of Don Magnificio. She sings with wonderful agility and precision the treacherously difficult arias and ensembles of Angelina. If there is anything to quibble, it is as some reviewers have rightly noted, her relative `uninvolvedness', which may be deliberate, given the underdog character of Angelina in the plot.The biggest reservation shown in this illustrious performance has been to Brownlee's Prince Ramiro. Brownlee is certainly no Prince Charming in the traditional sense. However, Ramiro's role is not as big as some might have thought. Brownlee sings in great style, and owns a very beautiful voice. The resultant effect of Brownlee's casting is not damaging at all.The ensembles are wonderful, be it duets, trios, quartets or choral. Great efforts have been spent in rehearsing this, and much credit goes to conductor Benini.

Oh what can I say about this opera that others have said? Well I found this "a breath of fresh air" in comparison to other modern versions of this opera. It is modern in its approach in many ways, costumes, set design, comic interpretation, but most notably that the Chorus act like "A Greek Chorus" standing in motionless blocks of repeated colour in identical costumes. Effective in that the action from the principles of Benini; Garanča, Brownlee, Corbelli, Alberghini etc are not overshadowed by extraneous movement. This core group of singers far outshine the Levine; Bartoli, Vargas, Alaimo, Corbelli production, why i do not know but then it could be subjective.But to the singing, Garanča has beautiful colour in her voice and complete dexterity in the fast articulated passages. She sings with exuded purity and sweetness in the title role and in many ways she out shines other singers like Bartoli and DiDonato. Most memorable of all is Ms. Garanča. She handles her frequent bursts of coloratura brilliantly. Perhaps she has a little too much chutzpah for a lost, exploited orphan, but her spirited performance is a pleasure to watch and hear. Further her interpretation of the down cast Angelina (Cinderella) plays her role in the first act too regal, too full of herself, and not as a downtrodden servant to the two sisters. .But beside and in no way supporting her is the voice of Lawrence Brownlee. Both of these artists show what bel-canto finesse singing is all about. Speight Jenkins, general director of the Seattle Opera, said of Brownlee -"There are other singers that sing this repertory very well, but I don't think anyone else has quite as beautiful a sound and as rounded a tone," and praise his "incredible top notes", adding about his high F" Truly and 100% he has no problems with this style of singing. Nor in this role! He understands the comedy part of not only the Prince but the valet - which he plays during the first act. Brownlee is excellent and he too makes a very intricate part sound easy – especially in the second act, when he gets time to spread his vocal wings on his own. His voice and that of his valet, the bass-baritone Simone Alberghini, blend beautifully.The long Act I quintet “Nel volto estatico” is just one example of both how well Rossini writes for his singers, and how well this cast work together to bring the score to life – even when it ventures near the absurdly difficult style of the patter song.Another is the final scene of the first act, the wonderful ball where Cenerentola causes uproar with a surprise appearance. And who can forget the final wedding scenes, where even the rather worthy forgiveness la Cenerentola gives her family can’t dampen the energy of the famous aria “Non piu mesta”. Through all this, the orchestral balance is well struck by Maurizio Benini, who keeps things lively in the pit despite his assuming style.I loved this Met production both from its artist singing side but also its design and directed side. It’s not a radical take, but this Cenerentola polishes Rossini’s Cinderella story into a very enjoyable experience. Thus I have no hesitation in recommending this production.

Loved this production. A very well balanced cast overall, Elinia Garanca is a super Cinderella showing her versatility as a singer and actress.

Good recording

Really she is an outstanding meso-soprano and very good actor of the play too! In addition she is a promissing and leading opera-singer. She has incredible rich voice.

One of the great comic operas of all time gets a wonderful performance from the Met. Although I have a couple of reservations it would be churlish not to award it 5 stars. The two ugly sisters are wonderfully horrible and Dandini, (also sung by the same actor on the competitive Glyndebourne disc), and Aldiro are superb. As Cinderella the Latvian mezzo soprano Elina Garanca is not just unbelievably lovely she sings as well as she looks. As Don Magnifico the everlasting Corbelli struts his stuff, surely one of the great buffo singers of our time, but here I have one of my reservations: The sets and costumes have been updated to early 20th century Italy and Magnifico and Dandini lose their wonderfully bizarre outfits that both roles make such skilful use of to up the comedy. See Corbelli and Enzo Dara in the Houston Grand Opera production to see what I mean. Unfortunately this performance is only available on DVD and the picture can not compete with Blu-ray. The brilliant young American tenor, Lawrence Brownlee, as the Prince sings quite wonderfully but has difficulty to look the part.The picture quality is better than usual for the Met but it is still not as sharp as the Opus Arte disc. The bit rate is on average 20-30% lower and it shows. Why the Met Blu-rays are almost all like this is a mystery but if they could invest in some better cameras it would make a big difference. I did not care for the sets very much but some of the special effects were hilarious. All in all this is a wonderful disc and despite my reservations and especially at current prices it is a bargain not to be missed. Buy it NOW!