[Met Performance] CID:330105
La Cenerentola {4} Metropolitan Opera House: 10/27/1997., Telecast

(Telecast
Review)


Metropolitan Opera House
October 27, 1997 Telecast


LA CENERENTOLA {4}
Rossini--Ferretti

Angelina...................Cecilia Bartoli
Prince Ramiro..............Ramón Vargas
Dandini....................Alessandro Corbelli
Don Magnifico..............Simone Alaimo
Clorinda...................Joyce Guyer
Tisbe......................Wendy White
Alidoro....................Michele Pertusi

Conductor..................James Levine

Recitative Accompanist: Kevin Murphy

Production.................Cesare Lievi
Designer...................Maurizio Balň
Lighting designer..........Gigi Saccomandi
Choreographer..............Daniela Schiavone
TV Director................Brian Large

Telecast: Metropolitan Opera Presents

Available for streaming at Met Opera on Demand

[The performances of 10/27/97, 11/3/97, and 11/12/97 were taped]

Review of Martin Mayer in Opera (UK):

Cecilia Bartoli's Angelina in the new Metropolitan Opera production of "La Cenerentola" is a consistent and credible characterization. At the end of the opera, when she navigates what are apparently Rossini's restored ornamentations of "Nacqui all'affanno," she sets her face, her neck muscles and even her upper torso in a series of contortions. One feels not that Bartoli is giving us a lesson in the exactitude of fioritura, but that Angelina makes these gestures when she sings. Bartoli not only has the great artist's power to concentrate our attention on her from the moment of her appearance, she also has the genius to make that power create authenticity for the character she plays.

"Cenerentola" is not to my mind a very good piece - it's a string of ensembles of confusion tied together mostly with yards of caricature and formulaic arias. One even sympathizes with the wicked sisters in their objection to the perpetually repeated "Una volta c'era un re." Still, the role of the official pretender Dandini has a good deal of fun in it, not to mention difficult ornaments in the middle of the baritone register, the duets of the lovers arc very pretty, and it's memorable when Angelina lets go, especially when the Angelina is Bartoli. Cesare Lievi's production is straightforward, inexpensive and amusing in the distorted perspectives of Maurizio Balo's sets. On October 27, Alessandro Corbelli was a splendid Dandini, Ramon Vargas a light-voiced but pretty prince, Michele Pertusi a sonorous Alidoro with full mastery of the florid moments, and Simone Alaimo carried off the foolishness of Don Magnifico with considerable panache. This is not James Levine's Fach, and when the overture began I dreaded the evening, but at his best Levine has always adapted to the strengths of his singers, and working with this cast infused a true Rossinian spirit in him.



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