Abstract
Cecilia Bartoli’s dazzling Rossini interpretations have remained a benchmark of her close association with the Opernhaus Zürich. Here, Rossini’s Cinderella has long been one of her signature roles. In our revival of La Cenerentola, Bartoli is once again supported by an outstanding Rossini ensemble. Together, they are perfectly in tune with one another: Nicola Alaimo, Alessandro Corbelli, Rebeca Olvera, and Liliana Nikiteanu, among others. Joining them for the first time as Prince Don Ramiro is the young South African tenor Levy Sekgapane, who has already made a name for himself internationally as a Rossini tenor. Conductor Gianluca Capuano will provide musical sparkle from the orchestra pit in a historically informed reading of Rossini’s score. First performed in Rome in 1817, La Cenerentola remains one of Rossini’s most successful opera buffa operas, alongside Il barbiere di Siviglia. Rossini’s version of the Cinderella story is as lively and comic as one might expect from the composer, but its profound, human side proves unexpectedly captivating. Bullied by her nasty stepsisters, Angelina resolutely follows the convictions she has in her heart – and she stands out amidst the comedic turbulence around her, musically and otherwise. Time and again she sings her simple, sad song of a king who chose a wife with a good heart, without regard for her social class.
Angelina’s story has a happily ever after in this Cinderella story. Prince Don Ramiro, who at first pretends to be his own valet Dandini, falls in love with Angelina, whom he thinks is but a kitchen maid. Her two sisters, meanwhile, leave empty-handed. When Angelina – now a bride – begins her famous rondo, and generously forgives her sisters, Rossini fans’ hearts are sure to beat just a tick faster. The opera ends with a supreme display of vocal fireworks.