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Gioachino Rossini:
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Gioachino Rossini:
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| Rossini's La Cenerentola (Cinderella) is a delightful and humorous opera, the music of which can easily be destroyed without vocalists of exceptional talent and technical facility. This is characteristic of much of Rossini's work, where vocal passages must be performed in the same furious pace as Rossini wrote them. Some of the most worthy productions of this opera have been released by London on both audio and video. |
| The audio
release was recorded in June of 1992 with the Teatro
Comunale di Bologna, conducted by Riccardo Chailly and
features Cecilia Bartoli, Allessandro Corbelli, Enzo
Dara, William Matteuzzi, and Michele Pertusi. The video release was performed in November of 1995 with the Houston Grand Opera, conducted by Bruno Campanella and features Cecilia Bartoli, Alessandro Corbelli, Enzo Dara, Raul Gimenez, and Michele Pertusi. The glaring similarity between both these releases is with the performance of Cecilia Bartoli. There is no doubt, Bartoli is the foremost mezzo-soprano of our time. Her role as Angiolina (the angelic one) is the highlight of this opera. If Rossini is the genius of Italian comedic opera, Bartoli earns a similar title as one of the most natural, and brilliant voices ever to perform his works. Though generations separate Bartoli from Rossini, her love and affinity for Rossini's works result in timeless performances, making the gap between the two inconsequential. While the remaining cast should not be overlooked, attention to Bartoli cannot be ignored. Her presence provides a stability that carries through the opera, right to the final moments. And, as is appropriate, Rossini composes the completion of the opera for Angiolina, giving Bartoli the final word. |
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| Rossini began composing La
Cenerentola in Rome on Christmas Day, 1826. Only in his
twenties, Rossini had already completed and performed 19
operas. He was known for his ability to compose at a
blinding rate. While many composers would begin composing
a work immediately, Rossini would frequently wait as long
as he could, then pen his work as quickly as possible. La
Cenerentola is no exception. Librettist Jacopo Ferretti
completed the text in 22 days. Rossini composed and
orchestrated the entire opera in a staggering 24 days. It
was first performed in Teatro Valle, Rome on January 25,
1817. Although its first performance was not greeted with great ovation, Rossini knew he had produced a work worthy of public acceptance, stating, " . . . within a year it'll be sung from one end of the country to the other." These prophetic words became reality not just in his country, but in many others. It was performed in Munich in 1818, Lisbon in 1819, London in 1820, Dresden, Madrid, and Paris in 1822, Vienna in 1823, and finally reached New York in 1826. Rossini's work has never decreased in interest, although the lack of singers being able to perform with the technique required has limited stage performances of this work over the years. Rossini's work often requires phenomenal technical abilities. London's audio and video releases archive an important work for the enjoyment of generations to come. Cecilia Bartoli's entrance to opera and vocal work started in Rome. Born into a family deeply rooted in music, it became quite clear at an early age that she had remarkable vocal capabilities. Her mother is a lyric soprano, and father was a lirico-spinto tenor. Her vocal training has been taught solely by her mother, who marveled at her ability to easily negotiate the quick coloratura that is the defining factor in Rossini's form of musical expression. Where other vocalists may sound and appear to labor over Rossini's vocal passages, Bartoli plays with them in a relaxed nature. Her vocal qualities are such that Rossini's works sound as though they were written for her. She fits the vocal requirements perfectly. Just entering the prime of her career, Bartoli continues establishing herself through the works she performs. Her work on La Cenerentola is accompanied by a fantastic cast that makes both these releases worthy of purchase. Whether video or audio, this La Cenerentola is one of timeless value. Although I would suggest the purchase of the work on video, with its humorous stage direction, and pleasing set design, the audio release equals its performance. Either way, both performances are of exceptional value due to the performance of Bartoli. And, with many years ahead of her, Bartoli can only grace us further with the wondrous talent and beautiful tone her voice adds to Rossini's music, and other's the chooses to perform |
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