Organization

Singer

Mezzo-soprano

Luciana Mancini

Angelina

Andrea Niño

Tenor

Francisco Brito

Don Ramiro

Baritone

Carl Rumstadt

Dandini

Bass

Martin Tzonev

Don Magnifico

Soprano

Marie Heeschen

Clorinda

Lada Bočková

Charlotte Quadt

Tisbe

Stage director

Leo Muscato

Conductor

Rubén Dubrovsky

Lighting designer

Max Karbe

Costume designer

Margherita Baldoni

Set designer

Andrea Belli

Chorus master

Marko Medved

Assistant director and evening production manager

Mark Daniel Hirsch

Costume Assistant

Dieter Hauber

César Cortés

Cecilia Gaetani

Lisandro Abadie

Alidoro

Libretto

Jacopo Ferretti

Theater Bonn

Orchestra

Beethoven Orchester Bonn

Others

Herren des Chores des Theater Bonn

italština

La Cenerentola -  (Cinderella)

Bonn

Germany

Public

Cinderella

Approved

La Cenerentola Rossini

This is "LA CENERENTOLA | Trailer" by Theater Bonn on Vimeo, the home for high quality videos and the people who love them.

Trailer

The story of Cinderella, who leads a miserable existence as a skivvy in her parents’ house and ends up marrying the prince, is one of the most popular topoi of the fairy-tale canon. The Brothers Grimm may have introduced the material to our spheres but its roots reach far back into the collections of One Thousand and One Night or the traditions of the indigenous peoples of Northern America.

Rossini, who allegedly composed his „dramma giocoso“ in no more than three weeks around the turn of the year 1816/17, based his work mainly on the 1697 version by Charles Perrault, entitled Cendrillon ou La petite pantoufle de verre. Perrault in turn presumably drew on the Pentamerone, a collection of fairy-tales compiled by Giambattista Basile, born in Naples in 1575, who inspired not only Charles Perrault but other artists such as Clemens Brentano, Ludwig Tieck and the Brothers Grimm. To his contemporaries, Rossini’s LA CENERENTOLA appeared – even more than his BARBIERE DI SIVIGLIA, created one year previously – as the epitome of comic opera. Rossini himself, however, did not arrange his work as an opera buffa in the purest form, but rather turned it into a so-called semiseria, a “semi-serious” opera. Angelina is despised by her family and her sufferings are portrayed on stage with some undertones. Despite the exceedingly comic potential of the cast of characters, the final “triumph of virtue” remains an important and serious insight, or at least as a utopian dream that Rossini’s opera tale shares with most fairy-tales around the world.

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