Name: La Cenerentola
Start: 2023-02-12T00:00:00.000Z
End: 2023-02-12T00:00:00.000Z
Location: Teatro Cenacolo Francescano

Artist

Admin

Conductor

Lorenzo Passerini

Stage director

Elena D'Angelo

Costume designer

Grandi Spettacoli

Set designer

Mezzo-soprano

Alessia Nadin

Angelina

Tenor

Livio Scarpellini

Don Ramiro

Baritone

Carlo Morini

Dandini

Bass

Alberto Bianchi Lanzoni

Don Magnifico

Alexandra Kodes

Tisbe

Soprano

Antonella Romanazzi

Clorinda

Marco Gazzini

Alidoro

Assistant Director

Ernesto Colombo

Others

Coro del Teatro Regio di Parma

Orchestra Antonio Vivaldi

italiensk

La Cenerentola

Lecco

Italy

Teatro Cenacolo Francescano

La Cenerentola: La Cenerentola Rossini

Public

Cinderella

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

Oboist

hornist

Bassoonist

Trumpeter

Contrabassist

Harper

Trombonist

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Contralto

Countertenor

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Continuo

La Cenerentola was chosen and created in less than a month, in Rossini's most prolific period, two years after the enormous success of Il Barbiere di Siviglia.

Rossini had been commissioned to set the comedy "Ninetta alla corte" to music for the Roman carnival of 1817. Arriving in Rome, in December 1816, to confront the ecclesiastical censor who was very critical of the project, he believed that the changes requested by the curia would have distorted the farce too much : with little time ahead of him to prepare the show he asked the librettist Jacopo Ferretti to find another subject.
The choice fell on the well-known fable, of which there were several versions:however, Perrault's story was the one that most emphasized the elements of humility, forgiveness and virtue, values ​​very close to the sensitivity of the time and certainly appreciated by the Pontifical scrutiny.
The two set to work, but the censorship retouches were not lacking: the famous and delicate slipper was cleverly replaced by a bracelet, given the impossibility of exhibiting female calves and feet on the stage of the time. Even the magical elements of fairy tales were revised: the fairy godmother was overcome by introducing the more "Enlightenment" figure of Alidoro, "teacher and philosopher".
These modifications to the well-known story did not pass unscathed to popular judgment: the first performance took place at the Teatro Valle in Rome 25 days after the choice of the subject, the rehearsals of the work were rather scarce and the replacement of the slipper was not appreciated so that the debut was a failure.
Only after a few performances, the opera met with public approval, becoming very popular both in Italy and abroad. However, the criticisms, controversies and irony towards the work continued for years.

English

La Cenerentola fu scelta e realizzata in meno di un mese, nel periodo più prolifico di Rossini, a due anni dall’enorme successo de Il Barbiere di Siviglia.

Rossini era stato incaricato di musicare  la commedia “Ninetta alla corte” per il carnevale romano del 1817. Giunto a Roma, nel dicembre 1816, per confrontarsi col censore ecclesiastico assai critico sul progetto, ritenne che le modifiche richieste dalla curia avrebbero troppo snaturato la farsa: con poco tempo davanti a sè per preparare lo spettacolo chiese al librettista Jacopo Ferretti di trovare un altro soggetto.
La scelta cadde sulla nota favola, di cui esistevano diverse versioni: il racconto di Perrault era però quello che maggiormente enfatizzava gli elementi dell’umiltà, del perdono e della virtù, valori molto vicini alla sensibilità del tempo e certamente graditi al vaglio Pontificio.
I due si misero al lavoro, ma i ritocchi della censura non mancarono: la celebre e delicata scarpetta venne abilmente rimpiazzata da un braccialetto, stante l’impossibilità di esibire polpacci e piedi femminili sulle scene dell’epoca. Anche gli elementi magici propri delle favole furono rivisti: la fata madrina venne superata introducendo la più “illuministica” figura di Alidoro, “maestro e filosofo”.
Queste modifiche al noto racconto non passarono indenni al vaglio del giudizio popolare: la prima rappresentazione ebbe luogo al Teatro Valle di Roma 25 giorni dopo la scelta del soggetto, le prove dell’opera furono piuttosto scarse e la sostituzione della scarpetta non fu gradita così che il debutto fu un insuccesso.
Solo dopo alcune repliche, l’opera incontrò il favore del pubblico, diventando molto popolare sia in Italia che all’estero. Le critiche, le polemiche e l’ironia nei confronti dell’opera continuarono comunque per anni.

italiano

La Cenerentola by Rossini, Fra (2023/2023), Instrueret af Elena D'Angelo,, Dirigent Lorenzo Passerini, Teatro Cenacolo Francescano, Lecco, Italy

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