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

Singer

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

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Countertenor

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

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, sø. 12 feb. 2023, Fra (2023/2023), I regi av Elena D'Angelo,, Dirigent Lorenzo Passerini, Teatro Cenacolo Francescano, Lecco, Italy

Forestillingkreditter (Ensemble & produksjonsteam )

Cast

Mannskap

Ensemble

Program, Informasjon & Sammendrag

Bilder

Videre lesning

Forestillingsdatoer og spillesteder

Sted