Customer Reviews

Rossini: La Cenerentola

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

 

 

Let me first say that I fully agree with the reviewer above, Mr. Dollinger, that the singing is first rate among the two main protaganists, Signor Florez and Signorina Didonato. I myself was put off by the staging which, unfortunately, is among the common type of euro-trash that is abundant in opera today. Why can't we just let the music and poetry speak for itself? Maybe I'm an old fashioned purist when it comes to operatic staging but what would one think if "South Pacific" was staged on the moon or in the 13th century? I mean...how many times does the stage director have to subjegate the art to their own "reinterpretation"?
My main concern with this particular performance, though, is the music and the conductor Patrick Summers. From the first few bars of the overture, and throughout the opera, in numerous places in the score - especially in the tutti parts - the cymbals are used almost without rest. You can take "L'Italiana in Algeri", "Il Turco in Italia" and even Mozart's "Abduction from the Harem" and combine all the parts that were actually written for cymbals(an instrument not commonly used in the orchestra at the time that this opera was composed...and only used for an "oriental" effect)and it wouldn't add up to the amount of times it is employed in this performance. It was a real distraction to me and I really felt myself cringing as this wonderful score unfolded and with every accent in the music there was another "clang!!". It reminded me of Sir Thomas Beecham's famous remark about the sound of the harpsichord being likened to the sound of two skeletons copulating on a metal roof!

When I first read that there was a Cenerentola in the pipeline with JDF and DiDonato I began anticipating its release. Subsequently there were some clips on YouTube which were disturbing--not the singing but the staging. When it arrived I played it immediately to see how it would compare with the Glyndebourne DVD. Well, my anticipation of the two leads was validated. In short they are superb both vocally, dramatically and physically. As good as the leads in the Glyndebourne are (Ruxandra Donose and Maxim Mirinov) and they are very good-- but better is clearly the enemy of the good.

There are two areas of criticism, however, that must be aired. The Liceu production is a joint effort of four (!) houses. Alas it is evocative of nothing in particular. Utilitarian, but nothing more. The production at Glyndebourne is traditional yet the production is directed by Peter Hall and it shows. The Liceu production aimed at a cartoon effect. They succeeded. A pity. I wonder how long this production will last. I can't imagine that it will have "legs". The costumes are exaggerated and "day-glo" colors are used throughout. Hall aimed at a much more realistic concept. Rossini wanted nothing "magical" and that is what Hall delivers. But Rossini delivered a different kind of magic: the music. Jurowski and the London Philharmonic deliver a wonderful performance, elegant spirited and glowing. While the Liceu pit band may not be the equivalent of the London Phil are a very good house orchestra and play very well for Summers--who has conducted this production in Texas.

In the Liceu production the remainder of the roles are cast from regular singers in the house. The Glyndebourne production is cast from strength and delivers better singers. This was a festival production and it shows. The Liceu singers are always adequate and sometime more, but in the end they have to yield to the English production, notably the Don Magnifico, sung by Luciano di Pasquale whose scrofulous appearance is matched by a wonderfully Italian buffo bass. When on stage he clearly dominates by virtue of physique and voice. His counterpart at the Liceu is both leaner of figure and voice.

But in the end we have to return to Juan Diego and DiDonato. They are charismatic stylish singers who never fail to deliver. Indeed the auditor is treated to some of the best Rossini singing in years. When they are on stage there is a frisson that is unmatched. Clearly theirs is a five star performance. It also has to noted that the Glndebourne performace is on Opus Arte and is very pricey although Amazon sellers probably offer a more attractive price.

On the surface, how could you go wrong with this video? Joyce di Donato and Juan Diego Florez are rightfully considered two of the foremost interpreters of Rossini on the opera scene today. No one is perfect, but di Donato might be close to the perfect lyric mezzo. She has a warm, dusky voice, the exact timbre that made Rossini give most of his heroine roles to mezzo sopranos. She is technically very accomplished, with a great trill and a real talent for dispatching rapidfire coloratura and making it all look easy. Juan Diego Florez is deservedly praised for his work in the ottocento operas. His voice is not large, but he has high notes to spare, and again, a talent for negotiating the scales and passagework of the bel canto operas with ease. Prince Ramiro is not a lengthy role, but Florez makes the most of his time onstage.

I like the production for the most part. It makes Cinderella/Angelina's world somewhat surreal. Everyone is wearing very colorful, over the top clothing and wigs, except for Cinderella, who wears a plain dress and apron. The main theme of the production is that Cinderella's only friends are a bunch of mice, and the production sometimes seems overrun with stuffed dancing mice that remind me more of the Nutcracker than Rossini's rather realistic comedy. It's a little busy, but it's a fun production, and I have no real objections about it.

My complaints about the performance lie largely with the casting of the secondary roles. Dandini, Don Magnifico, and Alidoro are character roles, that rely more on comic timing and stage presence than actual voice. The casting of these roles in an ensemble opera like La Cenerentola can either make the performance bubble over with laughter or make every joke fall flat. The secondary casting in this video can't compare to the casts in some other Cenerentola videos, like the Ponnelle film or the video with Cecilia Bartoli. Vocally David Menendez, Bruno de Simone, and Simon Orfila are okay, but acting-wise they are just so-so.

So despite the incredibly strong lead casting, this video of La Cenerentola never does take off the way it should. Nevertheless, fans of both Joyce di Donato and Juan Diego Florez won't want to miss out.

When I bought this title I wanted to hear DiDonato's performance. Yes, she is excellent: beautiful voice, excellent technique, good acting. The other main star was less convincing for me: Juan Diego Florez is good, but his acting skills are not fitting entirely to the style of the production, sometimes he is wooden (especially when compared to the other cast members). The direction is clear and full of ideas, the director, Joan Font has a strong view on the opera and he is able to show it with colorful costumes and well-designed set. The conductor is familiar with the Rossini style, however, he uses sometimes very slow tempi which are at least strange a bit, and not always convincing.
If you compare this to the other versions available on the market, it is worth buying beacuse of DiDonato perfect performance and the stunning production. Not a classic (like Ponelle's Rossini - La Cenerentola / Frederica von Stade, Francisco Araiza, Paolo Montarsolo, Claudio Desderi, Laura Zannini, Claudio Abbado), not a bravura (like Bartoli's Rossini - La Cenerentola). Definitely not a definitive version, but an excellent one, at par with the new Met production Rossini - La Cenerentola (Metropolitan Opera).

After reading the various reviews here, half of which are depressing and unduly critical (is there such a thing as a PERFECT opera production for heavens sake??) it was a relief to read at least one or two reviews that were really positive and could enter into the spirit of the opera. I found this opera fun and light and full of gaiety without losing its deeper meaning for those of us who care about such things. The singing is marvelous - DiDonato is in her prime and is both a great actor and singer, and Florez more than makes the most of his limited role. I just love the six rats making unspoken commentary in the background. The whole production is terrific and well worth the dollars if you are a DiDonato and/or Florez and/or Rossini fan.

This is a very good production with some unique props and artifacts as parts of the set.

Here is my review reprinted from Wholenote Magazine,February 2010 issue under their Copyright.

Such a pleasure to enjoy this completely original, very imaginative and colourful performance of the 24 year old Rossini's comic masterpiece completed under great pressure in a few weeks for the carnival season of 1817. Original indeed. What an inspired idea to bring in the `Comediants', a group of itinerant players who give outdoor impromptu performances all over Catalonia much like in the Middle Ages. The overall effect is the work of Joan Fonts (director) and it's like a comic book fairy tale with strong primary colours that are everchanging with mirrors and the magic of backlighting. One hilarious feature is a group of anthropomorphic rats constantly moving around in the background following and silently commenting on the action.

And it's a musical triumph as well. The two principals, Joyce diDonato and Juan Diego Florez are top of the line today in terms of bel canto singing. American mezzo DiDonato easily conquers the fierce technical demands of Rossini fioraturas but is also capable of pathos and introspection to move audiences with the warmth of her voice. Juan Diego Florez's voice is spectacular in the high flying tessitura and he throws out the high C's with the greatest of ease. After his aria in the second act Si, ritrovarla, io giuro the audience goes simply hysterical.
There is no disappointment in the three supporting baritone/basso roles either. One is better than the other. Perhaps veteran Italian basso Bruno de Simone (Don Magnifico) stands out
in his characterization, irresistible comedy and bravura Rossinian pattering, a feature that Arthur Sullivan adopted later into his English operettas.

Indiana born conductor Patrick Sommers is fast becoming a force to reckon with especially in bel canto repertoire. His unerring beat of metronomic precision and graceful and stylish tempos, sometimes at lightning speed, contribute to an outstandingly memorable evening. .

This production was truly a joy to behold. Staging, scenery, and costumes so very colorful. And the singing was as great as the acting. I highly recommend.

Really quite splendid. The recording the singing (ALL excellent) and like a good old British pantomime. My only critisism was Juan Diego's costume, looked a bit like a skirt .
Overall Excellent!!!
Very highly recommended

To me opera is entirely about sound - the sound of the voices. Who cares about the orchestra, the cymbals or the staging? With this cast I'd say this is the most beautiful thing I have ever heard.