Mar 12 at 7:30 PM
Mar 17 at 7:30 PM
Mar 21 at 12:30 PM
Mar 25 at 7:30 PM
Mar 28 at 7:30 PM
Apr 3 at 7:30 PM
Rossini’s effervescent take on the Cinderella story returns, with rising star mezzo-soprano Tara Erraught in the title role and tenor sensation Javier Camarena as her Prince Charming. James Gaffigan conducts the lively action, which also features bass-baritone Maurizio Muraro as the bumbling Don Magnifico, bass-baritone Christian Van Horn as the benevolent Alidoro, and baritone Davide Luciano as the wily servant Dandini.
Production a gift of Alberto Vilar
Languages sung in La Cenerentola
Title languages displayed for La Cenerentola
Met Titles In
Timeline for the show, La Cenerentola
Estimated Run Time
3 hrs 20 mins
World Premiere: Teatro Valle, Rome, 1817. The story is simple: A young woman is denigrated by her own family but ultimately exalted by a prince who sees her true value. Rossini’s operatic version of the Cinderella tale (“Cenerentola” in Italian) is charming, beautiful, touching in parts, transcending its roots as a children’s fairytale and making the title heroine’s transformation one of character rather than stereotype.
Gioachino Rossini (1792–1868) was the world’s foremost opera composer in his day. Over the course of just two decades, he created more than 30 works, both comic and tragic, before inexplicably stopping opera composition in 1829, at the age of 37. Jacopo Ferretti (1784–1852), a poet who also supplied libretti for Donizetti and other composers, provided the text for La Cenerentola, adapting the classic fairy tale by author Charles Perrault (1628–1703).
SET AND COSTUMER DESIGNER
Unlike most other versions, the opera places the story in a real locale, with the prince not a generic Prince Charming, but the prince of Salerno, an ancient seaside town in southern Italy.
The score of La Cenerentola seethes with the elegant buoyancy that is the hallmark of Rossini’s style. The solo parts require astounding vocal abilities, though the pyrotechnics always serve a larger dramatic purpose. Great comedy, an area in which the composer stands supreme, also runs throughout the score.
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