Advances for “Cinderella” for Rossini on June 26 at 10 on Rai 5: directed by Frank De Quell and Wolfgang Nagel for the musical direction of Piero Bellugi of Rai Studios in Milan
Rai Cultura remembers the master Piero Bellugi on the 10th anniversary of his death.
The appointment, on Sunday 26 June at 10.00 on Rai 5, is with a very careful television edition recorded in 1973 of Rossini’s “Cinderella”, taken from Perrault’s tale, directed by Frank de Quell and Wolfgang Nagel.
Performers Bianca Maria Casoni, Ugo Benelli, Sesto Bruscantini, Alfredo Mariotti, Federico Davià, Giovanna di Rocco, Teresa Roccino. Director Piero Bellugi.
Cinderella is a playful drama by Gioachino Rossini with libretto by Jacopo Ferretti. The full original title is Cinderella, or goodness in triumph.
The theme was taken from the famous fairy tale Cinderella by Charles Perrault (1697), but Ferretti also used two opera librettos: Cinderella by Charles Guillaume Etienne for Nicolò Isouard (1810) e Agatina, or the rewarded virtue by Francesco Fiorini for Stefano Pavesi (1814).
The work was composed in about three weeks and Rossini, as he did on other occasions, commissioned an assistant (in this case Luca Agolini) to compose the dry recitatives, from the arias of Alidoro (Immense theater is the world) and Clorinda (Unfortunate! He believed me) and the heart Ah, the beautiful stranger.
The first performance took place on January 25, 1817 at the Teatro Valle in Rome. The contralto Geltrude Righetti Giorgi, who had already been Rosina’s first Barber of Sevillesang the role of the protagonist.
The debut, although it does not cause a scandal comparable to that of barber shopit was a failure, but after a few performances, the opera became very popular and resumed in Italy and abroad.
As he had done on other occasions, Rossini used the technique of self-loan, that is, he took the music of some pieces of previously composed works: Angelina’s rondo is taken from the aria of the Count of ‘Almaviva. Stop resisting from barber shop and the symphony is taken from that of the magazine.
For a renaissance of 1820 at the Teatro Apollo in Rome, having at his disposal the excellent bass Gioacchino Moncada, Rossini replaced the aria of Alidoro composed by Agolini with a great virtuoso aria (Beyond the sky in the deep arcane), which is usually represented in current representations. A choice that also forces us to cast a first part also for the role of Alidoro, who in the original version was little more than a supporting actor.
In a castle of Don Magnifico
Clorinda and Tisbe, daughters of Don Magnifico, flaunt themselves in front of the presumptuous mirror and glorify themselves. Angelina, stepdaughter of gift Magnifico, sings a melancholy song (There was once a king), almost foreshadows the strange destiny he is about to live. The two sisters scolded her, but Alidoro, guardian of Prince Don Ramiro, disguised as a beggar, immediately enters to spy on the three sisters. He asks for alms, but is insulted by the two step-sisters: Angelina secretly gives him coffee, and Alidoro thanks him. He watches over the three to report his behavior to the prince: in fact, the prince is looking for a wife. After being treated by Angelina, and mistreated by Clorinda and Tisbe, Alidoro leaves, while some knights signal the imminent arrival of the prince. Don Magnífico enters the scene, awakened by his daughters (My female offspring), who warned him of the prince’s arrival: the father recommends that the two daughters dress and dress well. Don Ramiro enters immediately afterwards, in the form of a page. In fact, he exchanged his clothes with those of servant Dandini to spy on the behavior of the sisters. Cinderella realizes this, and love erupts between the two young men (A soft I do not know what). Immediately afterwards Dandini enters (Like a bee in the days of April), followed by the family. Neither Don Magnifico nor the three sisters realized the wrong identity. The waiter pampers the half-sisters, who praise the masked Dandini. Angelina asks her stepfather if she can come to the party, as everyone goes there. But Don Magnifico pursues her with contempt. Alidoro, seeing her, decides to help her (Beyond the sky to the deep Arcanaof Rossini, with whom he providentially replaced the modest aria originally composed by Agolini, Immense theater is the world).
Meanwhile, in the palace, Ramiro and Dandini argue about the baron’s daughters, and decide to put them to the test: Dandini claims that the girl chosen will be his wife, while the other will go to Ramiro. The girls, indignant, reject the caress of the masked prince: suddenly a strange, well-dressed girl arrives. It is Angelina, veiled, who came to take part in the dance, dressed as Alidoro. Thisbe and Clorinda notice a certain resemblance to their sister. Even the father realizes this, but is denied the ideas. Dandini invites everyone to the table, but the atmosphere is strange: everyone is afraid that their dream will fade (… I’m afraid my dream will go up in smoke to disappear!).
Don Magnifico recognizes Cinderella in the mysterious veiled lady, however he is sure that the prince will choose either Clorinda or Tisbe, and reveals to his daughters that, in appropriating Angelina’s estate, he squandered it to allow them to live with luxury. Meanwhile, Cinderella, upset by Dandini trying to seduce her, reveals that she is in love with the page. Ramiro is overjoyed, but Angelina gives him a bracelet, and tells him that if he wants to love her, he will have to look for her and return her; Ramiro, after the escape of Cinderella, announces that he will find her again (Yes, I find it again, I swear).
Meanwhile, Dandini reveals to Don Magnifico that it is actually the king’s apartment (A secret of importance), triggering the baron’s anger and indignation. The baron gets angry and goes home.
Meanwhile, Cinderella, at home, remembers the magical moment she lived at the party, and admires the bracelet. Don Magnifico and his half-sisters arrive, angry at Dandini’s revelation. Shortly afterwards a storm breaks out, and the prince’s carriage (thanks to bad weather, and to Alidoro) breaks in front of the house.
Ramiro and Dandini come in and ask for hospitality. Don Magnifico, who is still thinking of marrying one of his daughters to the prince, orders Cinderella to give the royal chair to the prince, and Angelina gives it to Dandini, unaware that he is not the prince. The baron points to Ramiro, and the two young men recognize each other (It’s you … this is a tangled knot).
Relatives, angry, threaten Cinderella (Stupid woman! Mud soul!). Ramiro and Dandini defend her, announcing revenge and terrible punishments to the family. Then Cinderella invokes the mercy of the prince, now her husband, and says this his revenge will be his forgiveness. Alidoro arrives, all happy with Angelina’s fate. Clorinda is indifferent to the old man’s words, but Thisbe prefers to accept her sister as a princess. At the end of the opera, Cinderella, after ascending the throne, grants forgiveness to her two half-sisters and her stepfather (rondo). I was born breathless), who, excitedly, embrace her and affirm that no throne is worthy of her.
- Magnificent gift (basso buffo): baron of Montefiascone, a helpless and decayed nobleman, as well as an involuntary comedian (from a typical bass example of Neapolitan comic opera). Father of Clorinda and Tisbe, as well as Angelina (commonly known as Cinderella). On the death of the latter’s mother, he takes the property of Cinderella (who knows nothing about it) for his own benefit and that of his daughters, not only to be able to combine lunch and dinner, but above all to satisfy vanity. of the stupid daughters (“dress, I reduced it to green …”). He dreams of getting out of the abyss of debt in which he finds himself marrying one of the daughters to the prince: by his own ignorance and his “female offspring”, alas, he will reach another end (though the goodness of Cinderella ). will save him from the worst anyway).
- Clorinda (soprano) i Thisbe (mezzo-soprano): Typical examples of “ugly and stupid.” Pampered, immature, silly: in short, the worst of the worst. They make the devil four to marry the (fake) prince despising the squire’s marriage offer (who is actually the real prince) out of pride. Also for them, waking up will be bitter.
- Angelina known as Cinderella (high agility, mezzocontralt): just as Clorinda and Tisbe represent the negative, Cinderella or Angelina represent the positive. From what we obtain from the text it follows that:
- She knows that she is the daughter (of the first bed) of Baron Don Magnifico’s wife (she names sisters Clorinda and Tisbe -even among her reproaches- and says “My mother was a widow but she was still one of them”);
- Her mother died when she was still a child, but she would not have tolerated being treated like a maid and above all she would have told him that he left her heiress to the enormous fortune of her natural father;
- He ignores that she is rich and that the money has been hidden by Don Magnifico; She lives as a kind of slave, serving as her stepmother and step-sisters, but dreaming of redemption. She meets the prince disguised as a squire and falls in love with him: thanks to the good offices of Alidoro, the prince’s master, she takes part in the palace party. She will see her dreams come true and will ascend the throne with the man she loves.
- Don Ramiro (tenor): the prince who seeks a wife, but a shallow character, inserted only because necessary in the economy of opera (see Don Ottavio in Don Giovanni of Mozart). He disguises himself as a squire because “in this simulated resemblance, I will observe them.”
- Dandini (bass or baritone): the squire who acts as a prince for a day. It lacks the depth or role of a Figaro (paradigm of the baritone voice in Rossini’s music), but unlike the master, it also lives musically with its own light.
- Golden wings (bottom): deus ex machina of the opera, is the substitute of the fairy. He invites the prince to exchange places with Dandini to capture the characters of life’s suitors. He is the first to enter the house of Don Magnifico disguised as a beggar to investigate the situation. Finally, he plans and implements participation in the Cinderella party as well as a fake accident to allow Ramiro to find her again. The libretto, published by Attilio Barion Sesto San Giovanni – Milan 1930.
Rossini’s score involves the use of:
For dry recitatives:
Structure of the work
- 1 Introduction and Choir No no, there aren’t any – There was once a king – Oh beautiful daughters (Clorinda, Thisbe, Angelina, Alidoro, Cor)
- 2 Cavatina My female offspring (Magnificent Gift)
- 3 Duet A soft I do not know what (Ramiro, Angelina)
- 4 Cor i Cavatina Choose the bride – Like a bee in the days of April (Cor, Dandini)
- 5 Quintet Sir, one word (Angelina, Don Magnifico, Ramiro, Dandini, Alidoro)
- 6 Air Beyond the sky in the deep arcane (Golden wings)
- 7 Final I Conciossiacosaché – Silence, silence, slowly – Oh, if it’s still veiled – Talk about rubbing salt in my wounds – d’oh! – Looks like I’m dreaming (Color, Don Magnifico, Ramiro, Dandini, Clorinda, Thisbe, Alidoro, Angelina)
- 8 Air Be one of the daughters (Magnificent Gift)
- 9 Recitative and aria And then … if you don’t mind – Yes, I find it again, I swear (Ramiro, color)
- 10 Duet A secret of importance (Dandini, Magnificent Don)
- 11 Song There was once a king (Angelina)
- 12 Storm
- 13 Sextet Is you? – This is a tangled knot (Ramiro, Angelina, Clorinda, Thisbe, Dandini, Don Magnifico)
- 14 Coro i Rondò Unstable luck – I was born breathless (Color, Ramiro, Angelina, Don Magnifico)
- Yes, I find it again, I swearRamiro aria
- A secret of importanceduet by Dandini and Magnifico
- Is you? – This is a tangled knot(sextet)
- I was born breathless; The last roundabout of Cinderella