Rossini's La Cenerentola at the MET

[whipped guy]

I saw the first performance of the revival of La Cenerentola on Monday evening. Joyce Di Donato was her usual reliable self in the title role. She, as did other members of the cast, embellished tastefully and appropriately. I did notice what could be described as a healthy vibrato that was especially evident on sustained tones. It was definitely not of the machine gun variety as was that of Conchita Supervia a famous Cenerentola from the early 20th Century. It was not even as pronounced as that of soprano Pilar Lorengar from the more recent past. However, it still was noticeable. I happen to like such a voice if the effect is within reason... At least at this point in time such is the case with DiDonato.

 

Juan Diego Florez was originally scheduled to essay the tenor role of Ramiro. However, he canceled the first three performances. Javier Camarena took over for him and while I was at first disappointed that Florez was not appearing it did give me the opportunity to hear this most talented individual. The voice is not as sweet as that of Florez, and not quite as distinctive. However, it is capable of a greater range of colors and nuance from pianissimo to forte and is ultimately more powerful. I definitely see him tackling the more heroic Rossini roles even though the composer was not fond of high notes being belted out in full voice. Case in point: Camarena concluded his aria with a long held high C that increased in intensity. While I would have preferred a more subtle approach the effect was exciting and did drive the audience wild resulting in prolonged applause and shouts of "bravo". That he could hit the note more sweetly was demonstrated earlier in the aria. In fact he even embellished the repeat of the cabaletta so as to go even above the C. At the final curtain he was received as enthusiastically as was DiDonato.

 

The remainder of the principals were Italians... Corbelli, Spagnoli, Pisaroni... who were to the manner born. I would bet that each one could sing their respective assignments in their sleep and not miss a beat! MET principal conductor Fabiola Luisi conducted ably, at times emphasizing the scores more sentimental moments while maintaining a fine sense of precision in the many complicated ensemble numbers.

 

All in all a fine experience.

[MrMiniver]

I, too, was at the opening performance and thought it was a superb evening. Everyone in top form. I'll see a couple more of these later assuming JDF comes to down (he's one of my favs but I'm doubtful, we'll see). I know most hate this production but I quite like it. I think this is my favorite Rossini opera ....

[whipped guy]

I did not care for the production it when it was new. The ubiquitous blue wall paper got to me. However, I really did enjoy it last evening. The only portion that I don't care for is the over the top portrayal of Alidoro... sprouting his wings of gold... Ali = wings d'oro = of gold... Okay I'll buy that as it would be lost on on a non-Italian audience. However, when Cenerentola is placed in a crate and lifted off the stage to go to the ball by a hook and crane, I find that ludicrous. That it occurs during my favorite aria "La, del ciel" somewhat irritates me. Other than that, I've come to like the production.

 

incidentally, in my initial posting my auto correct changed Fabio Luisi to Fabiola... for some reason it did not tamper with Cenerentola!!!

[MrMiniver]

I did not care for the production it when it was new. The ubiquitous blue wall paper got to me. However, I really did enjoy it last evening. The only portion that I don't care for is the over the top portrayal of Alidoro... sprouting his wings of gold... Ali = wings d'oro = of gold... Okay I'll buy that as it would be lost on on a non-Italian audience. However, when Cenerentola is placed in a crate and lifted off the stage to go to the ball by a hook and crane, I find that ludicrous. That it occurs during my favorite aria "La, del ciel" somewhat irritates me. Other than that, I've come to like the production.

 

incidentally, in my initial posting my auto correct changed Fabio Luisi to Fabiola... for some reason it did not tamper with Cenerentola!!!

 

In these kinds of operas I don't mind that kind of stuff at all. It almost cries out for ridiculousness!

[Andy2]

I saw the first performance of the revival of La Cenerentola on Monday evening. Joyce Di Donato was her usual reliable self in the title role. She, as did other members of the cast, embellished tastefully and appropriately. I did notice what could be described as a healthy vibrato that was especially evident on sustained tones. It was definitely not of the machine gun variety as was that of Conchita Supervia a famous Cenerentola from the early 20th Century. It was not even as pronounced as that of soprano Pilar Lorengar from the more recent past. However, it still was noticeable. I happen to like such a voice if the effect is within reason... At least at this point in time such is the case with DiDonato.

 

Juan Diego Florez was originally scheduled to essay the tenor role of Ramiro. However, he canceled the first three performances. Javier Camarena took over for him and while I was at first disappointed that Florez was not appearing it did give me the opportunity to hear this most talented individual. The voice is not as sweet as that of Florez, and not quite as distinctive. However, it is capable of a greater range of colors and nuance from pianissimo to forte and is ultimately more powerful. I definitely see him tackling the more heroic Rossini roles even though the composer was not fond of high notes being belted out in full voice. Case in point: Camarena concluded his aria with a long held high C that increased in intensity. While I would have preferred a more subtle approach the effect was exciting and did drive the audience wild resulting in prolonged applause and shouts of "bravo". That he could hit the note more sweetly was demonstrated earlier in the aria. In fact he even embellished the repeat of the cabaletta so as to go even above the C. At the final curtain he was received as enthusiastically as was DiDonato.

 

The remainder of the principals were Italians... Corbelli, Spagnoli, Pisaroni... who were to the manner born. I would bet that each one could sing their respective assignments in their sleep and not miss a beat! MET principal conductor Fabiola Luisi conducted ably, at times emphasizing the scores more sentimental moments while maintaining a fine sense of precision in the many complicated ensemble numbers.

 

All in all a fine experience.

 

Whipped, I am sorry I missed your posting when I added an additional one on Cenerentola and the encore for Camarena. Your analysis of this production and the cast is illuminating and erudite. BRAVO.