by Paul J. Pelkonen
Welcome to the layer cake: the finale of the Met's La Cenerentola.
Image © The Metropolitan Opera.
Cesare Lievi's 1997 production offers an eccentric, slightly hallucinatory version of Rossini's masterpiece, with a visual sensibility borrowed from the paintings of Rene Magritte. From the clock-stuffed closets of the Prince's palace to the massive pasta fight that rings down the curtain on the Act I finale to the final rondo sung from the top of a three-story wedding cake, this is one of the Met's finest comedies.
There are a number of key differences between the traditional Cinderella fairy tale and the Rossini version which had to undergo certain alterations on its way to the stage:
- The Wicked Stepmother is the buffoonish Don Magnifico, a stock figure from Italian opera buffa.
- The Fairy Godmother became the Prince's tutor Alidoro.
- In order to get the opera past the strict censors at the work's 1817 Rome premiere, the famous glass slipper became a simple bracelet.
La Cenerentola opens April 21, 2014.
Recording Recommendations:
London Symphony Orchestra cond. Claudio Abbado (Deutsche Grammophon 1971)
Angelina/La Cenerentola: Teresa Berganza
Prince Ramiro: Luigi Alva
Dandini: Renato Capecchi
Don Magnifico: Paolo Montarsolo
This is one of Claudio Abbado's definitive Rossini recordings from the 1970s, using the critical edition of the score. Teresa Berganza has never been bettered on disc as Angelina, and Luigi Alva is in top form as Prince Ramiro. Mr. Abbado is a master of Italian repertory, and the set ssparkles with warmth, good humor and authentic Rossinian energy.
Tickets for La Cenerentola are available at MetOperaFamily.Org, by calling (212) 362-6000, or at the box office starting August 11.