{"id":15249,"date":"2022-06-17T17:37:07","date_gmt":"2022-06-17T15:37:07","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/spettacolo\/la-cenerentola\/"},"modified":"2023-05-04T12:42:07","modified_gmt":"2023-05-04T10:42:07","slug":"la-cenerentola","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/la-cenerentola\/","title":{"rendered":"La Cenerentola"},"content":{"rendered":"\n

Dramma giocoso in two acts<\/em>Music by Gioachino RossiniLibretto by Jacopo Ferretti_________________________<\/p>\n\n

PLAYBILL<\/h3>\n\n

Don <\/strong>Magnifico<\/em> Marco Filippo Romano \/Giovanni Romeo (29, 3)<\/strong>Cenerentola <\/em>Hongni Wu<\/strong>\/Laura Verrecchia (29, 3)<\/strong>Dandini <\/strong><\/em>Roberto de Candia \/Pablo Ruiz (29, 3)<\/strong>Ramiro<\/em> Antonino Siragusa\/Dave Monaco (29, 3)<\/strong>Tisbe <\/em>Carlotta Vichi<\/strong>Clorinda <\/em>Giorgia Rotolo<\/strong>Alidoro<\/em> Gabriele Sagona\/Matteo D\u2019Apolito (29, 3)<\/strong><\/p>\n\n

Conductor and orchestrator Riccardo Minasi<\/strong>Director Paolo Gavazzeni <\/strong>and Piero Maranghi<\/strong>Scenic and costume design <\/strong>inspired by the 1978 staging by Emanuele Luzzati<\/strong>and the department Direzione degli Allestimenti Scenici<\/strong>Lighting design Luciano Novelli<\/strong>Staging by Fondazione Teatro Carlo Felice di Genova<\/strong>Orchestra, chorus and Technicians of Opera Carlo Felice Genova<\/strong>Claudio Marino Moretti<\/strong>, Chorusmaster<\/p>\n\n

Master of recitatives Sirio Restani<\/strong><\/p>\n\n

<\/p>\n\n

Staging director Luciano Novelli<\/strong>, Stage music director Paloma Brito<\/strong>, Hall Masters Sirio Restani<\/strong>, Antonella Poli<\/strong>, Maestri di palcoscenico Andrea Gastaldo<\/strong>, Anna Maria Pascarella, <\/strong>other Choir Master Patrizia Priarone<\/strong>, Master of lights Bernardo Pellegrini,<\/strong> Master of supertitles Simone Giusto<\/strong>, Music archive manager Simone Brizio<\/strong>, Stage director Alessandro Pastorino<\/strong>, Deputy Stage Manager Giorgio Agostini<\/strong>, Console Handling Manager Andrea Musenich<\/strong>, Engineer foreman Gianni Cois<\/strong>, deputy foreman electricians Daniele Malcontenti,<\/strong> Tooling foreman Tiziano Baradel<\/strong>, Head of audio\/video department Walter Ivaldi<\/strong>, Head of tailoring, shoemaking, make-up and wigs Elena Pirino<\/strong>, Collaboration on costumes Nicoletta Ceccolini, <\/strong> Make-up and hair co-ordinator Raul Ivaldi<\/strong>, footwear Epoca <\/strong>(Milan) andC. T. C<\/strong>. Pedrazzoli , <\/strong>wigs Mario Audello<\/strong> (Turin), surtitlesPrescott Studio<\/strong>.<\/p>\n\n

Thanks are due to Giuseppe Ragazzini<\/strong> for his collaboration in creating the backdrops and video animations.<\/p>\n\n

<\/p>\n\n

Photographs by Marcello Orselli from the ante-plane test<\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/p>\n\n

Rossini began composing La Cenerentola<\/em> in late 1816. Within barely a month, the opera was ready, and was staged in Rome, at the Teatro Valle, on 25 January 1817. Despite some initial reservations, also due to the short preparation time of the first production, La Cenerentola<\/em> soon became a much appreciated and performed title. Together with librettist Jacopo Ferretti, Rossini searched for a subject that could be performed without incidents with the rigid censorship of the Roman environment. The choice fell on the very popular Cinderella fairy tale, recurring in various forms since ancient Egyptian times, with a sufficiently linear and morally impeccable plot. Particularly suitable for opera transposition, the fairy tale had already been set to music first by Nicol\u00f2 Isouard, to a libretto by Charles-Guillaume \u00c9tienne, then by Stefano Pavesi, to a libretto by Francesco Fiorini.It is precisely \u00c9tienne’s Le Cendrillion<\/em> and Fiorini’s Agatina<\/em> ossia la virt\u00f9 ricompensata that will be the main literary sources that Ferretti will draw on, writing, however, moving towards a more realist dimension, and removing all fantastic elements from the original plot.Rossini’s music becomes a vehicle for a wide variety of expression, describing and at the same time determining the action.Some sections – also considering the short time available – were borrowed from earlier compositions, such as the opening symphony, the same one that introduced The gazzetta,<\/em> of 1816, and excerpts from Barbiere di Siviglia.<\/em> Luca Agolini was entrusted with the composition of other pieces, such as Alidoro’s aria ‘Vasto teatro \u00e8 il mondo’, which was later replaced with Rossini’s ‘L\u00e0 del ciel nell’arcano profondo’, and Clorinda’s aria ‘Sventurata! Mi credea’.The dramaturgical intent is experimental, La Cenerentola<\/em> is a dramma giocoso in which several aspects that in the previous century had been the prerogative of opera seria – in particular the greater psychological complexity of the characters – converge with others more easily identifiable in the comic genre. Thus, simple, almost stereotypical characters such as Clorinda and Thisbe coexist with a serious and profound character like Alidoro, and again with Angelina, Ramiro and Don Magnifico, outside any possible clear-cut classification. The result is a work with a subtle, ironic comedy that lends itself to different levels of interpretation, in the direction of a musical theatre that is less circumscribed to a specific genre and richer in nuances and contrasts.<\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

From fairy tale to opera, the timeless tale of Cinderella, tinged with a bittersweet flavour.<\/p>\n","protected":false},"featured_media":14308,"template":"","discipline":[202],"season":[123],"tag_spettacoli":[127,125,126],"class_list":["post-15249","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-gioachino-rossini","tag_spettacoli-hector-berlioz-teatro-carlo-felice","tag_spettacoli-la-cenerentola"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15249","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/15249\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/14308"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=15249"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=15249"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=15249"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=15249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}