La Cenerentola

When he composed La Cenerentola - or Cinderella - Rossini was twenty-five years old and already bidding farewell to opera buffa, the genre that had proved so popular with L'Italiana in Algeri and The Barber of Seville. He would now turn to other horizons, in particular serious opera seria. But the composer saved the best for last: this final jaunt into fairytale land is as enjoyable as it is exhilarating.

The humiliations are fading
from my memory.
I wish to be nobler
than the throne itself.
My revenge will be my forgiveness.
La Cenerentola

Inspired by Perrault's fairy tale, Rossini's version of Cinderella is a far cry from Walt Disney's image. While we find poor Angelina persecuted by her sisters and loved by a prince, there are no pumpkins transformed into carriages or mice disguised as coachmen. Not even a glass slipper, replaced here by crystal bracelets. All the magic is in the music - and what music! The composer had written one of his most brilliant scores: At last a princess, Angelina's final aria is a vocal fireworks display in itself. Under the baton of Giulio Cilona, the title role is sung by Beth Taylor, Bradamante in our Alcina abridged for Covid reasons.

Fabrice Murgia directed a dazzling production of the rare Enchanted Palace. He returns this season determined to transform this Cenerentola into a great popular celebration.. The film buff and gifted live video director has drawn his inspiration from American cinema, from the fantastic and gothic films of Tim Burton: staged at the height of the festive season, this Cenerentola promises a Nightmare before Christmas.