Rossini: La Cenerentola
Rossini: La Cenerentola

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Rossini: La Cenerentola

2020
Movie
163 min
Italian

This occasionally off-the-wall but finely sung and colourfully staged La Cenerentola was Rome Opera’s first foray into the media market, shown on television and in cinemas across Italy in 2016. It clearly had the funding. Emma Dante’s production will not have come cheap – Vanessa Sannino’s costumes are a particular feature – nor would the singers, given that this is as good a Cenerentola cast as any international house might currently muster.

Insights

Director: Damiano MichielettoGenres: Opera, Musical, Classical

Plot Summary

This production of Rossini's beloved opera "La Cenerentola" reimagines the classic Cinderella tale in a modern, slightly gritty setting. Angelina, mistreated by her stepfather Don Magnifico and stepsisters, finds her life transformed when Prince Ramiro comes searching for his mysterious beloved, aided by the eccentric Alidoro. The opera is a showcase for Rossini's brilliant vocal writing and comedic timing.

Critical Reception

The 2020 production of "La Cenerentola" directed by Damiano Michieletto has been generally praised for its inventive staging and the strong vocal performances of its cast. Critics lauded Michieletto's ability to update the familiar story while retaining its charm and Rossini's effervescent score. The cast, particularly the principals, received acclaim for their vocal agility and dramatic interpretation.

What Reviewers Say

  • Praised for its vibrant and intelligent modern staging.

  • Commended for strong vocal performances and Rossini's signature brilliance.

  • Appreciated for its clever reimagining of the familiar Cinderella narrative.

Google audience: Audience reception for this specific production is not widely documented in a way that allows for a distinct summary of likes and dislikes, but generally, opera audiences appreciate well-executed productions of classic Rossini works.

Awards & Accolades

N/A

Fun Fact

While "La Cenerentola" is often referred to as Rossini's "Cinderella," the composer himself did not want it to be known as such, preferring to distance it from the fairy tale and emphasize its comic nature.

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