Customer Reviews

Rossini - La Cenerentola / Campanella, Bartoli, Dara, Houston Grand Opera [VHS]

5 star:		(11)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This performance of LA CENERENTOLA was taped at Houston Grand Opera in 1995. The performances marked Cecilia Bartoli's American debut, and as Angelina she completely justified all the "hype" that surrounded her at that time. She sings beautifully and acts nicely, creating a put-upon yet spunky "Cinderella." Opposite Bartoli, Raul Gimenez gives a sincere and sensationally sung Prince Ramiro. His love duet with Bartoli in Act I ("Un soave non so che") is an oasis of calm in a witty Rossinian fairy tale. The supporting cast includes Enzo Dara (Don Magnifico), Alessandro Corbelli (Dandini), and Michele Pertusi (Alidoro, the "fairy godfather"). Corbelli's Dandini has since become famous (a British critic called it one of the finest operatic characterizations of our day), and here one can see why: it is subtle, humorous, and richly sung. (Corbelli was also Dandini in 1997 Metropolitan Opera performances, one of which was telecast in 1998. His Met portrayal was very different but every bit as masterful; it's too bad that telecast is not yet commercially available.) Dara, who sings the stepfather, Magnifico, looks like Ed Wynn (of MARY POPPINS and "I Love to Laugh" fame). Although Dara's acting is very funny, he is clearly past his vocal prime -- in fact, I think I'd rather hear Ed Wynn sing the role. Young bass Pertusi, however, provides plenty of vocal freshness in his lengthy, wonderful aria, "La del ciel." The production is one of the most beautiful I have ever seen of an opera; the sets and costumes look like fanciful children's book illustrations. This is a marvelous performance that one can watch again and again -- as I certainly have!

This is a super film of a really charming opera. Funny, and totally appealing tale with a horrid stepfather instead of stepmother, and the two customary stepsisters. Cecilia Bartoli was born to play the role, singing to perfection the difficult and beautiful Rossini music.

Great sets and stage production, and a prince to bring about the happy ending, this is a great film to introduce newbies to opera!

I love this video for the singing. As a matter of fact, I would recommend it over Bartoli's Decca cd recording because the best principal singers are the same, except in this video, you get Raul Giminez as the Prince, instead of William Matteuzzi on the cd, and although Giminez' voice is a bit lighter, it's a prettier voice, and his fioratura is much more smooth and lovely. La Cenerentola is Bartoli at her finest vocally - it suits her sound and vocal style perfectly, but the acting is another matter. Bartoli is just not funny to me, plus she does alot of odd twitching and jerking that are terribly annoying.

Corbelli is great both vocally and as an actor. Giminez is enjoyable. Pertusi is fine. Dara gives me the same feeling as Bartoli - a bit too silly, but his singing is fine. There is a serious message to this opera that doesn't come across because of the ridiculousness of some of the acting and some of the costumes: The message is that 'goodness triumphs', which is the alternate title of this opera, and I personally feel this opera needs a handful of elegance and subtley (sorely lacking in this video) to convey that message in a witty way.

Though I have some reservations about the production, there are such great performances on this video that I have given it four stars and recommend it. For instance, you can enjoy the talents of Cecilia Bartoli, here making her American debut, who gives a spirited and vocally dazzling performance of the heroine. Then there is the dashing Rossinian tenor Raul Gimenez, who lends impeccable elegance and vocal polish to the role of Don Ramiro. I'm sorry for the cursory way that I've treated the two leads, but I would really like to concentrate on the two buffo roles of Don Magnifico and Dandini, played by Enzo Dara and Alessandro Corbelli. Dara is a veteran Italian basso buffo who, as another revewer pointed out, bears a striking resemblence to Ed Wynn. His voice was clearly past its prime at the time of this performance and is quite weak, though his stage manner is as funny as ever. He is very endearing, but I'm not sure he adequately emphasizes the character's menacing qualities. However, his rapid delivery of the patter in his third aria (while throwing cards) is unbelievable! As the prince-for-a-day valet Dandini, Corbelli shows why he has become famous in this role: his performance is both superbly sung and hilariously acted. Just watch his aria: this is clearly a great comedian as well as a great singer! Corbelli is a fine artist, no doubt about it. Finally, there is Michele Pertusi as Alidoro, who has a fine voice but is hampered by the production's stodgy conception of the role.

As for the physical production, I find it less apt than the recent Metropolitan Opera production (telecast on PBS but not yet available commercially). The Met production was true to the surreal, zany spirit of Rossini. This prettified Houston production looks like a cross between a Disney fantasy and a French Rococo painting. The result is that Rossini's urbane, witty, realistic comedy looks too much like what he didn't intend it to be - a fairy tale. It's a beautiful, magical production, mind you - but it isn't very Rossinian. The Met production is not flawless by any means, but it is more true to Rossini's world. Consider for example how the two versions stage the famous sextet: in the Met version the participants actually get tangled in a long piece of string (as the text says); in Houston they just sit there and sing.

But this production has so many wonderful performances going for it, that any opera lover should buy it. LA CENERENTOLA is a one-of-a-kind evening's entertainment, no matter what the sets and costumes and staging look like. But please look out for that Met production, which also has Bartoli, Corbelli, and Pertusi.

I am a great fan of Cecilia Bartoli, and have been so, since this, her role as the title character, in Rossini's La Cenerentola. In my opinion, Bartoli is one of the most beautiful, dynamic and brilliant mezzo sopranos of our time. She has such a rich and beautiful tone, to her phrasing, as well as her general delivery of the songs in her repertoire.

This, the Houston Opera House production, is about as far away from Disney's Cinderella as you can get. So, before you consider seeing this operatic version of Cinderella, discount all of your preconceived notions. La Cenerentola (Cecilia Bartoli), is a beautiful, selfless and very mistreated young lady, who is regularly taken advantage of by her wicked stepfather and equally wicked stepsisters. The stepsisters (with father in tow) are invited to a the prince's ball, where he will select the lucky lady who will become his wife. Of course, La Cenerentola is not allowed to attend the ball, and is expected to sit at home while her wicked family has all of the fun. However, fate has other plans. There isn't a fairy godmother in the picture, so much as a Philosopher, who is watching out for the poor girl's best interest.

The cast is so strong here. Particularly notable is the great performance by Raul Gimenez (a great Chilean tenor, who plays the part of Don Ramiro, the romantic prince). You will laugh and maybe even shed a tear over this beautiful production. The music is absolutely soaring and lovely to listen to.

Cecilia Bartoli doesn't just play Cinderella, she is Cinderella, and the Music of Rossini is as natural for her as breathing! This beautiful and important moment in the world of Opera, and particularly American Opera is a must own. This Cinderella story is not the one you're familiar with - it tells the story with a beautiful tribute to the human spirit and love. There are no pumpkins turning into carriages here!
Ms. Bartoli's talent and gift is evident throughout, along with the rest of this extraordinary cast. But it is Ms. Bartoli's final aria, "Nacqui all'affanno...Non più mesta" that will amaze you. It must be heard (seen), to be believed.
I was fortunate to see this performance live in Houston...Ms. Bartoli's American premiere performance. This DVD will be a wonderful memory captured in time.
See this DVD and fall in love with Cinderella again!

I have seen other performances of this La Cenerentola, but this performance is the best.
The cheerful and melodious music of Rossini, although not as wellknown as Barbiere de Sevilla, is still so enchanting and beautiful, and comes out as magnificent by the excellent performance and singing of Cecilia Bartoli in her specific deep rich soprano voice which is matched by the clear soft tenor voice of Raul Gimenez and clear baritone Enzo Dara. The combination of singers made this opera buffa so magnificent and enchanting while the costume and background decor represent the comical and funny situation.
We are so enthralled watching and listening to this performance from the beginning to the end of the opera.

Esta función procedente de la Ópera de Houston de una de las mejores óperas de Rossini es sin duda la mejor versión visual disponible hasta la fecha de esta obra.
En lo vocal, todos rinden a un nivel estupendo. Comenzando por una CECILIA BARTOLI excelente, tanto en lo escénico como en lo vocal: su pirotécnica coloratura es de impresión y su voz es bellísima. Cantar el papel mejor que ella en la actualidad es muy dificil.
Junto a la joven Bartoli tenemos al veterano ENZO DARA, un Don Magnifico cuya voz no es especialmente hermosa (nunca lo ha sido) pero con muchas tablas, y con un conocimiento profundo de su personaje. Implicadísimo en la trama de principio a fin, siempre con mucha comicidad. Un clásico que se agradece.
El Don Ramiro de RAUL GIMENEZ es un derroche de clase, conocimiento de estilo rossiniano y belleza vocal. Su trabajo es digno del más fuerte de los aplausos.
El Dandini de ALESSANDRO CORBELLI, cómico y cantado a la altura de los mejores en este papel, sigue sumando puntos a un reparto sin fisuras, que se completa con el lujoso Alidoro de MICHELE PERTUSI y unas cómicas Clorinda y Tisbe, que hacen sus pinitos en los concertantes.
La dirección de BRUNO CAMPANELLA, aunque adecuada, podría pecar de algo lenta en algun momento.
La producción de la ópera de Houston es lujosa, variada, divertida y coherente con la historia; y la realización televisiva es muy adecuada.
Todo esto redondea una gran 'Cenerentola', que no debería faltar en casa de ningún aficcionado a la ópera. Imprescindible.

I see at this late date, there are plenty of reviews with the usual variation in opinion. Natural, since none of us see or hear the same production, none of us weigh elements in the same way. On the less than positive side, I found the scenic design rather depressing even in the scenes in which that was not the intended result. Clearly the design which was reasonable for the cinders scenes could not be adequately brightened for the palace scenes. With a pang of guilt, given their lowly status, I found the chorus and other supportive players, rather poorly molded into appropriate presences. No fault of theirs, of course, and the chorus did sing well. These were only slight distractions, however, from the impact of Rossini well sung and more than adequately played. That Dara displayed a failing voice is news to me. Perhaps my ordinary sound system (and less than ordinary hearing) did not catch nuances; for he not only acted superbly the role of a traditional Italian actor-singer playing Don Magnifico, he sounded marvelously well singing the part. The Prince and his Valet were admirably handled by Gimenez and Corbelli.
All involved are to be congratulated on allowing Rossini to be heard as he should be in the various individual and group songs that he created. These all were delivered with the elan required to give us the kind of kick that rock concerts must give their adherents.
Oh, yes, Bartoli. I suppose she did look far too healthy for an oppressed menial. Yes, I did notice what one would not notice from my seats at an opera, she had not at that time mastered, what I assume is quite difficult, creating the broad expression necessary for live theater while at the same time not overdoing what the camera closeup will amplify. Did you really care when she sang, were you not stirred by her true star quality in the concluding aria which roused the audience to a peak....as it did me as well. That was a star at work and what a pleasure to see and hear.

Roberto de Simone's intimate, 1790's LA CENERENTOLA for the Teatro Communale di Bologna was presented at Houston Grand Opera in 1994 and telecast the following year. The production is one of the most beautiful I have ever seen of an opera; the sets and costumes look like fanciful children's book illustrations. True, the direction is often rather static; but de Simone's aim seems to have been to create a truly "period" staging - a production that might have been put on in Rossini's own time. Bruno Campanella's effervescent conducting is in keeping with this chamber-opera feel: it may lack something in dramatic weight (CENERENTOLA is perhaps the most "serious" of Rossini's comedies), but at least the maestro never Romanticizes Rossini, never tries to make the music sound like something it is not.

The telecast was Cecilia Bartoli's American TV debut, and as Angelina she completely justified the "hype" that surrounded her at the time. Her mezzo is a marvel: multi-hued and shaded, clear and delicate, yet quite dramatic where it needs to be (in the Quintet, for example). She inhabits the character of Cenerentola, as does Raul Gimenez that of Prince Ramiro. His and Bartoli's Act I duet ("Un soave non so che") is an oasis of calm in a witty Rossinian fairy tale. The almost heroic weight of which Gimenez's voice is capable is all the more effective in contrast to his exquisitely soft and subtle singing in the greater portion of the opera.

The supporting cast includes Enzo Dara (Don Magnifico), Alessandro Corbelli (Dandini), and Michele Pertusi (Alidoro). Corbelli's Dandini has since become legendary (a British critic once called it one of the finest operatic characterizations of our day), and here one can see why: it is subtle, humorous, and very richly sung. Veteran buffo Dara as the stepfather looks like Ed Wynn (of MARY POPPINS and "I Love to Laugh" fame). Unfortunately, there are times during the performance when I almost think I would rather hear Ed Wynn sing the role; Dara's voice at first sounds fresh and strong, but in Act II he hits some incredible "clinkers." Along with this his acting tends to be too silly; altogether, he is no match for Corbelli's subtlety in their Act II duet. (Dara's card-throwing in his third aria is a rare instance of inspired silliness, particularly in combination with his perfect patter.) Young bass Pertusi, however, provides plenty of vocal freshness in his lengthy, wonderful aria "La del ciel." His voice, not large, is dark in color and amazingly agile. Laura Knoop and Jill Gove have pure, Rossinian voices and much character as the stepsisters.

Having loved this CENERENTOLA on videotape for several years, I was thrilled to receive the DVD, with its perfect sound and picture quality. The Bologna/HGO CENERENTOLA is a beautiful production that one can enjoy again and again. I treasure it!