Word: cenerentola
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...unusual instance where the singer was the same age as the insouciant heroine. "When I sang Rosina at 20," she says, "I knew I felt like Rosina." In 1987 she appeared on French TV in a tribute to Maria Callas, reeling off the finale of La Cenerentola, roughly the vocal equivalent of a Grucci fireworks extravaganza. The major maestros had apparently tuned in. Daniel Barenboim began working with her at once. "She had wonderful expressive qualities, and her vocalizing was very advanced," he recalls...
...popular impression of Rossini as a composer of comic operas has not changed much since Beethoven. "Give us more Barbers," the mighty German is supposed to have advised the young Italian, and succeeding generations have endorsed Beethoven's opinion. The creator of Barber of Seville, La Cenerentola and L 'Italiana in Algeri is usually considered a deft musical comic whose work sparkles with wit and high spirits...
...taste, control and sheen. Or that she can blend the impetuous and the spiritual so deftly as Nina in Thomas Pasatieri's The Seagull, or the childlike and the vulnerable so magically as the heroine of Debussy's Pelleas et Melisande. Starring in Rossini's La Cenerentola with La Scala in Washington, D.C., last September, she displayed enough bravura vocal fireworks to suggest that Flicka also has a bit of the hellcat...
Abbado's conducting was a deft blend of energy, delicacy and a Toscanini-like instinct for the dramatic jugular. Even better, perhaps, was his mercurial handling two nights later of Rossini's La Cenerentola (Cinderella). This work is chamber music for the opera house and easily the high point of the composer's comic style. Abbado has that style in his bones...
...Cenerentola is less popular than Rossini's The Barber of Seville, probably because of its emphasis on bravura ensemble work over traditional solo arias. Further, the title role is written for an almost extinct species, the coloratura contralto. La Scala has such a rara avis in Lucia Valentini Terrani. She really has too hefty a look for an ideal Cinderella, but her voice was lusciously bronze and agile. The production is by France's Jean-Pierre Ponnelle; within a delightful children's cutout house, he manipulates his characters like a swinging Coppelius. How, for example, Soprano Margherita...