Rossini brings bel canto magic to a beloved fairy tale in his classic comedy Cinderella (La Cenerentola). With a shimmering score full of vocal fireworks, the opera follows the beautiful maid Angelina on a quest for true love, despite the scheming of her cruel stepfather and wicked stepsisters.
Director Garnett Bruce (La Traviata, 2011) updates this rags to riches story to Depression-era Hollywood with evocative sets and costumes and a cast of unforgettable characters. Acclaimed mezzo-soprano Daniela Mack stars as Angelina opposite tenor Gregory Schmidt (The Turn of the Screw, 2010) as her "Prince Charming," Don Ramiro. John DeMain conducts the Madison Opera Chorus and Madison Symphony Orchestra.
Cast
Production
Conductor: John DeMain
Director: Garnett Bruce
Sung in Italian with projected English translations
Run time: appr. 3 hours, one intermission
Related Events
Opera Up Close: Cinderella preview / April 15, 2012
A Night at the Palace / April 27, 2012
Out @ the Opera / April 27, 2012
The Cinderella Book Drive / April 27 & 29, 2012
1933 Hollywood: Film director Don Ramiro seeks a new leading lady but is frustrated in his search for a woman of honesty and integrity. His trusted mentor, Alidoro, a producer at Palace Pictures, suggests that he launch a search for this mythical heroine.
Act I. The Magnifico sisters - Clorinda and Tisbe - enjoy a typical day, preening and devising new duties for their much-abused stepsister, "Cinderella." They have no time for Alidoro, who comes to their door disguised as a beggar; only Cinderella shows him any kindness. At Alidoro's signal, members of Don Ramiro's staff appear to invite the ladies to Palace Pictures, where Ramiro will choose the "fairest of them all" as his new leading lady. Mr. Magnifico, a washed-up vaudeville entertainer, sees this as a way out of his mounting debt; he pushes his favored daughters to prepare themselves. Ramiro, disguised as a driver so as to better observe the candidates, arrives to find only the maid - Cinderella. Their brief encounter, an honest conversation as equals, sparks a scene of "love at first sight" worthy of any film.
Ramiro's driver Dandini enters to play his part, impersonating his boss. The Magnificos make quite a display, fawning on the imposter, but it is Mr. Magnifico's abusive denial of Cinderella's request to go along that makes the biggest impression. When she is left alone in despair, Alidoro returns to arrange her to attend.
At Palace Pictures, Dandini settles into his role, leading the persistent sisters on a merry chase. Partway through the evening, a mysterious veiled woman arrives to much speculation. When she is revealed, the Magnificos are stunned to see how much she resembles their maid. In true Hollywood fashion, the festivities, heavily laced with romance and intrigue, continue well into the night.
Act II. The Magnificos redouble their efforts to win the prize, already imagining their new lifestyle. Dandini corners Cinderella and questions her, but she admits that she has fallen for his driver and prepares to leave. Ramiro tries to convince her to stay; instead she gives him a bracelet, challenging him to find the matching one she wears, proving that his feelings are sincere.
Ramiro calls off the deception and orders his staff to search for the mysterious woman and her bracelet. Dandini, disappointed at his "demotion," finds a final pleasure in revealing to the Magnificos that they have spent all evening trying to impress a chauffeur.
As Cinderella sits alone, dreaming of her beautiful evening, the Magnifico family storms in, furious at having been duped and dined. Just as they begin to take out their frustrations on Cinderella, the group from Palace Pictures comes to the door, their car having broken down nearby. Confusion sets in as Ramiro, Dandini, and Alidoro reveal their true identities, but the true fireworks begin when Ramiro recognizes Cinderella and makes her the offer of a lifetime.
-Garnett Bruce, stage director
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Act I. Palace Pictures [Credit: Mark Matson / Austin Lyric Opera]
Act I. On the set [Credit: Cory Weaver / Austin Lyric Opera]
Act II. Cinderella, dreaming of her beautiful evening [Credit: Cory Weaver / Austin Lyric Opera]
Act II. Cinderella and Don Ramiro unite at last [Credit: Mark Matson / Austin Lyric Opera]
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Here is a recommended recording of La Cenerentola, starring Cecilia Bartoli, conducted by Ricardo Chailly.
And here is a recommended DVD, filmed by Jean-Pierre Ponelle and starring Frederica von Stade.
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Role: Angelina
Previously at Madison Opera: Opera in the Park 2011.
Recent Performances: Rosina in The Barber of Seville (Pittsburgh Opera); Angelina in Cinderella (Opera Colorado); Isabella in The Italian Girl in Algiers (Opera National de Bordeaux, Florentine Opera).
Praise: "Mezzo-soprano Daniela Mack is a natural as Cinderella, combining youthful good looks with a lovely, supple voice that is strong and sure up and down her range. Perhaps most impressive, she brings appropriate dexterity and clarity to Rossini's often challenging bel canto writing.” -Kyle MacMillan, The Denver Post
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Role: Clorinda
Previously at Madison Opera: Frasquita in Carmen.
Recent Performances: Susanna in The Marriage of Figaro (Seattle Opera Young Artist Program, Opera Southwest); Ensemble in Camelot (New York Philharmonic).
Praise: "As Molly, Amy Mahoney is radiant. Her voice and manner reminded me of opera star and show-tune recording artist Dawn Upshaw (and those who know me know I can bestow no higher compliment to a singer)." -Margaret Cross, BroadwayWorld.com
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Role: Tisbe
Previously at Madison Opera: Flora in La Traviata; Miss Jessel in The Turn of the Screw; Mercédès in Carmen.
Recent Performances: The Drummer in The Emperor of Atlantis (Opera Boston); Meg in Little Women (Utah Opera); Cherubino in The Marriage of Figaro (Opera Theatre of St. Louis).
Praise: "Mezzo Jamie Van Eyck, as Jo's sister Meg, was luminescent..." -Robert Coleman, Opera News
"Jamie Van Eyck was a standout..." -Mark J. Estren, The Washington Post
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Role: Don Ramiro
Previously at Madison Opera: Husband in The Music Shop; Don Ottavio in Don Giovanni; The Steersman in The Flying Dutchman; Peter Quint in The Turn of the Screw.
Recent Performances: The Steersman in The Flying Dutchman (Metropolitan Opera [cover]); Alfredo in La Traviata (Des Moines Metro Opera); Don Ramiro in Cinderella (Fresno Grand Opera).
Praise: "Tenor Gregory Schmidt's mellifluous Steersman fielded a surfeit of timbral honey and a telling ping above the staff." -Mark Thomas Ketterson, Opera News
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Role: Dandini
Madison Opera debut
Recent Performances: Taddeo in The Italian Girl in Algiers (Florentine Opera, Utah Opera); Dandini in Cinderella (Opera Colorado); Figaro in The Barber of Seville (Portland Opera); lead role of Jaufre Rudel in Kaija Saariaho's L'Amour de Loin (recorded for Harmonia Mundi; 2011 Grammy Award for Best Opera Recording).
Praise: "A born comedian, baritone Daniel Belcher clearly delights in this production and the role of Dandini, even drawing laughs at times with his playful takes on Rossini's vocal ornamentations." -Kyle MacMillan, The Denver Post
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Role: Don Magnifico
Previously at Madison Opera: Falstaff in Falstaff; Bartolo in Il Barbiere di Siviglia.
Recent Performances: Dr. Bartolo in The Barber of Seville (Portland Opera); Don Magnifico in Cinderella (Austin Lyric Opera); title role of Falstaff (Utah Opera); title role of Don Pasquale (Opera New Jersey); Sacristan in Tosca (Houston Grand Opera); Betto in Gianni Schicchi (Los Angeles Opera); Baron Zeta in The Merry Widow (Washington National Opera).
Praise: "[He has] the comic timing of John Candy and a voice that remains flexible, rich, and true through every intricacy..." -The Washington Times
"The prize for the most naturally clear diction of the cast goes to the hardy baritone Steven Condy." -Anthony Tomassini, The New York Times
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Role: Alidoro
Madison Opera debut
Recent Performances: Composer in The Last Savage and Yakuside in Madama Butterfly (Santa Fe Opera); Webster Wordsworth in Words and Music (Santa Fe Opera Spring Tour); Sweeney Todd in Sweeney Todd and Queequeg in Moby Dick (Santa Fe Opera Apprentice Scenes); General Audebert in Silent Night workshop performance (Minnesota Opera); Hans Foltz in Die Meistersinger (Tanglewood Music Festival); Bluebeard in Bluebeard's Castle (Natchez Opera Festival).
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