#La Cenerentola

[princesssarisa]

Opera on YouTube 5

Nabucco

Teatro alla Scala, 1987 (Renato Bruson, Ghena Dimitrova; conducted by Riccardo Muti; no subtitles)

Teatro di San Carlo, 1997 (Renato Bruson, Lauren Flanigan; conducted by Paolo Carognani; no subtitles)

Ankara State Opera, 2006 (Eralp Kıyıcı, Nilgün Akkerman; conducted by Sunay Muratov; no subtitles)

St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi; conducted by Ernst Märzendorfer; English subtitles)

Rome Opera, 2011 (Leo Nucci, Csilla Boross; conducted by Riccardo Muti; English and German subtitles)

Teatro Comunale di Bologna, 2013 (Vladimir Stoyanov, Anna Pirozzi; conducted by Michele Mariotti; Italian subtitles)

Rome Opera, 2013 (Luca Salsi, Tatiana Serjan; conducted by Riccardo Muti; no subtitles)

Gran Teatro Nacional, Perú, 2015 (Giuseppe Altomare, Rachele Stanisci; conducted by Fernando Valcárcel; Spanish subtitles)

Metropolitan Opera, 2017 (Plácido Domingo, Liudmyla Monastyrska; conducted by James Levine; Spanish subtitles)

Arena di Verona, 2017 (George Gagnidze, Susanna Branchini; conducted by Daniel Oren; English subtitles)

La Cenerentola (Cinderella)

Jean-Pierre Ponnelle studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo; conducted by Claudio Abbado; English subtitles)

Glyndebourne Festival Opera, 1983 (Kathleen Kuhlmann, Laurence Dale, Claudio Desderi; conducted by Donato Renzetti; no subtitles)

Salzburg Festival, 1988 (Ann Murray, Francisco Araiza, Walter Berry; conducted by Riccardo Chailly; English subtitles)

Tokyo Bunka Kaikan, 1991 (Lucia Valentini-Terrani, Toshiro Gorobe, Domenico Trimarchi; conducted by Antonello Allemandi; Japanese subtitles) – Act I, Act II

Houston Grand Opera, 1995 (Cecilia Bartoli, Raúl Giménez, Enzo Dara; conducted by Bruno Campanella; no subtitles)

Rossini Opera Festival, 2000 (Sonia Ganassi, Juan Diego Flórez, Bruno Praticó; conducted by Carlo Rizzi; Italian subtitles)

Gran Teatre del Liceu, 2008 (Joyce DiDonato, Juan Diego Flórez, Bruno de Simone; conducted by Patrick Summers; German subtitles)

Romeo Opera, 2015 (Serena Malfi, Juan Francisco Gatell, Alessandro Corbelli; conducted by Alejo Pérez; Italian and English subtitles)

Lille Opera, 2016 (Emily Fons, Taylor Stayton, Renato Girolami; conducted by Yves Parmentier; English subtitles)

Boboli Gardens, Florence, 2020 (Svetlina Stoyanova, Josh Lovell, Daniel Miroslaw; conducted by Sándor Károlyi; no subtitles)

Lucia di Lammermoor

Tokyo Bunka Kaikan, 1967 (Renata Scotto, Carlo Bergonzi; conducted by Bruno Bartoletti; English subtitles)

Mario Lanfranchi film, 1971 (Anna Moffo, Lajos Kosma; conducted by Carlo Felice Cillario; English subtitles)

Bregenz Festival, 1982 (Katia Ricciarelli, José Carreras; conducted by Lamberto Gardelli; no subtitles) – Part I, Part II

Opera Australia, 1986 (Joan Sutherland, Richard Greager; conducted by Richard Bonynge; English subtitles)

Teatro Carlo Felice, 2003 (Stefania Bonfadelli, Marcelo Álvarez; conducted by Patrick Fournillier; Japanese subtitles)

San Francisco Opera, 2009 (Natalie Dessay, Giuseppe Filianoti; conducted by Jean-Yves Ossonce; English subtitles)

Amarillo Opera, 2013 (Hanan Alattar, Eric Barry; conducted by Michael Ching; English subtitles)

Gran Teatre del Liceu, 2015 (Elena Mosuc, Juan Diego Flórez; conducted by Marco Armiliato; French subtitles)

Teatro Real de Madrid, 2018 (Lisette Oropesa, Javier Camerana; conducted by Daniel Oren; English subtitles)

Vienna State Opera, 2022 (Lisette Oropesa, Benjamin Bernheim; conducted by Evelino Pidó; English subtitles)

Il Trovatore

Claudio Fino studio film, 1957 (Mario del Monaco, Leyla Gencer, Fedora Barbieri, Ettore Bastianini; conducted by Fernando Previtali; English subtitles)

Wolfgang Nagel studio film, 1975 (Franco Bonisolli, Raina Kabaivanska, Viorica Cortez, Giorgio Zancanaro; conducted by Bruno Bartoletti; Japanese subtitles)

Vienna State Opera, 1978 (Plácido Domingo, Raina Kabaivanska, Fiorenza Cossotto, Piero Cappuccilli; conducted by Herbert von Karajan; no subtitles)

Opera Australia, 1983 (Kenneth Collins, Joan Sutherland, Lauris Elms, Jonathan Summers; conducted by Richard Bonynge, English subtitles)

Metropolitan Opera, 1988 (Luciano Pavarotti, Eva Marton, Dolora Zajick, Sherrill Milnes; conducted by James Levine; no subtitles)

Bavarian State Opera, 2013 (Jonas Kaufmann, Anja Harteros, Elena Manistinta, Alexey Markov; conducted by Paolo Carignani; English subtitles)

Temporada Lirica a Coruña, 2015 (Gregory Kunde, Angela Meade, Marianne Cornetti, Juan Jesús Rodriguez; conducted by Keri-Lynn Wilson; no subtitles)

Opéra Royal de Wallonie-Liége, 2018 (Fabio Sartori, Yolanda Auyanet, Violeta Urmana, Mario Cassi; conducted by Daniel Oren; French subtitles)

Arena di Verona, 2019 (Yusif Eyvazov, Anna Netrebko, Dolora Zajick, Luca Salsi; conducted by Pier Giorgio Morandi; German subtitles)

Teatro Verdi di Pisa, 2021 (Murat Karahan, Carolina López Moreno, Victória Pitts, Cesar Méndez; conducted by Marco Guidarini; no subtitles)

[operaqueen]

Callas in the studio for one of her many unreleased - working sessions recorded thruoght the 1960's.

[smallpoxlarry]

un bellissimo somarro !

[fairytale-poll]

ROUND 1A, MATCH 16 OUT OF 16!

Propaganda Under the Cut:

Cida:

[No Propaganda Submitted]

La Cenerentola:

Maybe she's a pretty basic Cinderella, kind and sweet and forgiving, but I do just love this opera.

[thatsmydonna]

I still don't know what I'm doing, but...

When you realize you accidentally created an OC that has genuine chemistry with the cast

[muchadoabout]

Woo hoo!

I'm going to see Isabel Leonard and Lawrence Brownlee in La Cenerentola in June!

[doyouknowthisopera]

[monotonous-minutia]

I'd love to hear why the one you chose is your favorite!

[rwpohl]

*

[carovisetto]

Johanna Rudström and Ole Aleksander Bang in La Cenerentola, 2017

[princesssarisa]

Non-English "Cinderella" adaptations that might have influenced Disney's 2015 live action remake

Rossini's La Cenerentola (Italian opera, 1817). In the opera, the king has died, and the prince's search for a bride is motivated by his pending coronation. (The 2010 German Märchenperlen version also makes this choice.) In the 2015 film, the king is mortally ill, and later dies after the ball. Thus the opera's Cinderella and her 2015 counterpart both ascend straight to the throne in the end. Also, the opera's "fairy godfather" Alidoro disguises himself as a beggar and rewards Cinderella for treating him kindly, just as the 2015 Fairy Godmother does. (Although the Fairy Godmother also does this in Prokofiev's famous ballet.) The opera's Prince Ramiro also has a constant male companion, his valet Dandini, much like 2015's Kit has the Captain of the Guard (although many versions of Cinderella's prince have similar companions). Last but not least, both princes disguise themselves as a servant at some point: Ramiro switches clothes with Dandini for the ball to observe the true characters of the ladies, while Kit disguises himself as a guard to secretly observe the slipper-fitting.

Three Nuts (or Three Wishes) for Cinderella (Czech/German, 1973). In both this version and the 2015 film, Cinderella steals a few moments of freedom by riding her horse into the forest, and there she meets the prince on a hunt and stops him from shooting a deer. (Although in the 1973 film she throws a snowball at him, he chases her, and they taunt each other, while in the 2015 version they share a philosophical discussion about kindness and tell each other a little about their lives.) Both of these versions also hark back to the Grimms' tale early on, with Cinderella's father figure (the manservant Vincek in 1973, her actual father in 2015) going on a journey, and Cinderella asking for the first branch that hits his nose (1973) or brushes his shoulder (2015) as a gift. (In 1973 the branch contains the three magic hazelnuts that take the place of the Fairy Godmother in this version, while in 2015 it doesn't serve the plot, but is poignantly brought to her by the messenger who breaks the news of her father's death.)

Sechs auf einen Strech ("Six at one Blow"): Aschenputtel ("Cinderella") (German, 2011). Cinderella repeats a mantra that she learned from her mother: "You must never lose courage." In the 2015 film, she has a similar mantra, also from her mother: "Have courage and be kind." She also first meets the prince while he's hunting in the woods in this version, and the end sees them about to become king and queen, though in this case the old king is still alive, he just chooses to retire.

Zolushka (Russian, 1947). Cinderella has blonde hair, which she wears in fluffy shoulder-length curls at the ball, while the prince has wavy chestnut brown hair. (These could be coincidences, though.) The Fairy Godmother first appears as a humbly dressed old woman (although not as a beggar in 1947), then reveals her true, magical and glamorous form. The prince is also portrayed with boyish vulnerability as well as with courtly charm, and he even cries in one scene. (The '47 prince in the woods when he thinks he's lost Cinderella forever, 2015's Kit at his father's deathbed.)

When I posted my review of the 2015 film, @ariel-seagull-wings noticed the parallels with the 1947 Russian version. She suggested that Kenneth Branagh might have been influenced by that version, since British viewers are more likely than Americans to see the adaptations from continental Europe. The more I think about it, the more I realize that Branagh and the 2015 screenwriter Chris Weitz might have been influenced by more than one European Cinderella.

[donnabellas]

Cinderella (La Cenerentola) San Diego Opera Artist Night

The San Diego held an Artist Night Live Sketch during a dress rehearsal for the Opera Cinderella (La Cenerentola) on October 19, 2016. Local artists were permitted to attend and live sketch the performers. Art by Laurel Latto.

The San Diego held an Artist Night Live Sketch during a dress rehearsal for the Opera Cinderella (La Cenerentola) on October 19, 2016. Local artists were permitted to attend and live sketch the performers. Art illustrations were initially created using pencil on paper followed by watercolor pencils. A water wash was used followed by pen for details. Art by Laurel Latto. Learn more about the San…

[vulnerasti-cor-meum]

honestly some of my favorite moments in rossini's la cenerentola are in Act 1 (signor! una parola) (image 1) and in Act 2 (Ah signor, s'è ver che in petto) (images 2-4) where in each isntance Ramiro and Dandini take turns weaving in an out the same phrases which in turn build into a climax. they're very affecting movements and show (even if conventionally) the relationships among the characters (Ramiro and Dandini the heroes are always parallel/singing the same phrases over and against Don Magnifico) and I could listen to them over and over

[fairytale-poll]

ROUND 2A, MATCH 8 OUT OF 8!

Propaganda Under the Cut:

Mia Basile:

Her stepmother murdered her father in front of her and she became mute from the trauma. She has 6 stepsiblings who are all assassins and make her clean up their kills. She lives on a ship with hologram ghosts in futuristic Naples. Beats up the man who ordered her father's death

La Cenerentola:

Maybe she's a pretty basic Cinderella, kind and sweet and forgiving, but I do just love this opera.

I just went to opera today (for something totally different tho) so... here's the whole Rossini's La Cenerentola for you. (For the impatient people, who want to skip the overture, singing starts at about 8 mins and Cinderella's first part at about 9:30 XD)

[thatsmydonna]

Her Inspiration:

I've done a terrible job if I haven't depicted her personality quite well yet. Yeah, it's only been four chapters, but she's intimidating - but I'm looking for a certain flavor of intimidating here.

For all you visual people (like me), this. This. This is my inspiration. Or rather, she was inspired by the badass, well-dressed women of Kdramas. There's a few I'm looking at in particular, but this is how I pictured her in my head. And by that, I mean her as a character - Ran is technically still Italian (no, she's not half Korean) so she doesn't look exactly like this, but this is the vibe I'm going for. I've been told a picture is worth a thousand words, and yeah, I agree.

Out of the two of them, you can guess who's the really intimidating one. Or rather, until you disrespect/touch her, then Tsuna becomes the scarier one.

[muchadoabout]

ISABEL LEONARD  as Angelina in ROSSINI: LA CENERENTOLA Bavarian State Opera, 2024