Rossini: La Cenerentola[Blu-ray]

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.

Dramatically, many of the most highly rated operatic performances are disasters. In a highly rated performance of Wagner's Ring cycle, one of the giants - fitted with abnormally long artificially arms - inadvertently cups the diva's breast with his artificial hand for an extended time during an aria, producing an awkward effect to say the least. Oh well, an audiophile may listen to opera but not care about the drama, but the absence of the dramatic element can render the production uninspiring. Perhaps that is why opera puts most people to sleep. This 2009 performance of Rossini's La Cenerentola is an outstanding exception. This delightful video would be an excellent introduction to opera, or a game-changer for someone who thinks the medium is not for her.As noted by others, every singer is musically satisfying, fully up to Rossini's challenging runs. The pit orchestra is equally competent. The staging and camera work are stunning, providing many delights for the eyes.But what makes this performance stand out is the enchanting Elīna Garanča in the title role. In her mid-thirties at the time of this performance, she is lovely and radiant, not only in appearance but in manner. Without denigrating the exceptional mezzo-soprano Cecilia Bartoli, who also performs La Cenerentola on a currently available recording, Garanča's acting makes the role of the ingenue approachable and believable. Simply put, she brings good theatre to the opera house. Her acting ability, coupled with her movie-star-like beauty, could easily land her a leading role in a popular film.The supporting cast is equally fine. Opera can be stilted (no one sings as people lay dying) but this cast has fun with Rossini's variation on the classic Cinderella tale, making the awkward moments more than tolerable. The final enjoyable touch is Lawrence Brownlee as the prince. A fine tenor and a reasonably good actor, for an opera singer, his genuineness makes us root for romance to triumph, and of course it does. Where, in the illusion-spinning arts, does a black man, several inches shorter than the leading lady, win fair damsel's heart and hand? That never happened on Lawrence Welk's show. Perhaps justice is possible, and dreams come true after all.

Truly incomprehensible how awful is this Met stage production. Singing good to very good with awful costumes and horrible decor.

Tout est magique: Elena Garança est tout simplement insurpassable (en tout cas insurpassée...) de beauté de chant, de présence scénique, de beauté tout court! Certes, faire camper le prince par Lawrence Brownlee (à la voix par ailleurs superbe) est un choix woke avant l'heure, mais si le Met avait mis un grand blond avec une chaussure "noire" comme prince en face de la lumineuse Elina, c'eût été too much, non?C'eût été, au fond, aussi anachronique aujourd'hui (soirée Met de 2009) que de voir ce père (génial Corbelli) frapper une de ses filles (la belle Elina/Cendrillon), pour la faire taire afin de favoriser ses deux autres!!!Était-ce courant en 1817?Ou est-ce plutôt du côté de Bettelheim qu'il faut chercher une explication (pour les 2 attitudes), dans sa merveilleuse "Psychanalyse des contes de fées "!Un DVD indispensable :- pour qui aime Rossini,- pour qui aime la beauté,- et aussi pour tous ceux qui ont "quelque-chose entre les oreilles" (comme disait une pub pour France Inter autrefois !).

Edizione musicalmente eccellente con scenografie congrue alla storia e prive di fronzoli.Gli interpreti sono tutti di gran livello con una Garanca pirotecnica, Alessandro Corbelli adeguato a livello canoro ma addirittura eccellente come attore ed una direzione d'orchestra molto valida. Bella la performance di Simone Alberghini, instancabile nel ruolo di Dandini.L'unico punto non proprio all'altezza della produzione è le phisique du rôle di Browlee, molto piccolo e tozzo, che comunque si fa perdonare per doti canore e linea di canto appropriata.Immagini Blu-Ray normali ed audio buono.Un disco assolutamente da raccomandare per l'alta qualità complessiva della produzione.

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.

MUY BUENA PUESTA EN ESCENA, VESTUARIO Y LAS VOCES Y ACTUACIONES BASTANTE BIEN, UNOS MAS QUE OTROS, PERO TODO BASTANTE BIEN. ELINA GARANÇA PERFECTA

Die Carmen unserer Zeit als Aschenputtel? Garanca als starke liebende selbstbewusste, nicht nur stimmlcih sichere Frau und dann die Cenerentola. Ja- ja - ja. Eine genauso starke. liebende und wunderbare Frau, deren Rolle La Garanca genauso auf Leib, Stimme und Herz geschneidert sind wie die Carmen. Ihr Singspiel ist ein Ereignis der Sonderklasse. Ein Erlebnis, das ich dreimal live erleben durfte. Ansonsten muss ich wenigstens einmal die Woche ihre Opernfilme sehen. Herzerwärmend und mehr. Danke Elina!