For those whose familiarity with the Cinderella tale extends no further than the animated Disney version, the absence of manifest fantasy in Gioachino Rossini’s operatic adaption will come as a surprise. In Rossini’s revered variation, there’s no fairy godmother casting transformative spells, no gilded carriage reverting to a pumpkin at the stroke of midnight. Far from being bereft of magic, however, the Minnesota Opera’s spellbinding new production of Rossini’s Cinderella, now running at the Ordway Center, exudes its own enthralling sense of enchantment.
Featuring an exceptionally witty libretto by Jacopo Ferretti, Rossini’s Cinderella – Angelina (La Cenerentola) - lives in dreary subservience to a conniving stepfather, Don Magnifico, and two pampered and vain stepsisters, Clorida and Tisbe. Though Angelina finds some escapism in the announcement that the valiant Prince of Salerno, Don Ramiro, is searching the kingdom for a bride, the notion of being queen is merely a daydream; that is, until Angelina shows sympathy to a supposed beggar who turns out to be the Prince’s sagacious tutor, Alidoro. Recognizing the humble servant girl’s virtuous heart, Alidoro arranges for Angelina to attend the royal ball where her beauty and grace utterly captivate the Prince. The only complication is the Prince, in a ruse to test the sincerity of his bridal candidates, has been disguised as a common valet.
Delirious with incognito passions and mistaken identities, the production emphasizes the lighthearted mirth of the material. Conducted by Christopher Franklin, Rossini’s playful score is rousing and rambunctious, a spiraling tribute to the hysterically harried comedy. Stage directed and choreographed by Doug Varone, the action sometimes approaches slapstick speeds, such as a rollicking sequence in which the Prince is laboriously dressed by an assembly line of valets.
The choreography throughout is one of the production’s driving strengths as the pacing of each sequence masterfully mirrors the prevailing tempo. Whether a synchronized wave of tuxedoed valets or the chaotic commotion of ballroom eccentrics, the richly varied movements never falter, a remarkable achievement considering the work’s three hour run time.
Making her American stage debut, Romanian mezzo-soprano Roxana Constantinescu is unforgettable in the lead role of Angelina. Gifted with a luxurious timbre, Constantinescu mesmerizes with evocative force. Embodying the resplendence of her role, Constantinescu radiates the ethereal benevolence at the core of Rossini’s work. So enticing is Constantinescu’s voice that her spotlight moment, the emotionally charged Nacqui all'affanno … Non piu mesta, proves absolutely entrancing.
Though Constantinescu’s performance is exceptional, the production is further elevated by a remarkable supporting cast. Internationally renowned tenor, John Tessier, consistently projects stirring passion as he pines for his mysterious inamorata. Tessier’s duets with Constantinescu define romantic longing, as does his Act 2 aria, Si, ritrovarla io guiro. Not to be outdone, bass-baritone Daniel Mobbs lends authoritative compassion as the Prince’s tutor, Alidoro, commanding the stage with poised precision.
Being a comedy, of course, the world of Cinderella is populated with colorful figures. Foremost amongst the jesters are celebrated buffo bass Donato DiStefano as the irascible Don Magnifico and local favorite Andrew Wilkowske lending his vibrant baritone to the over-the-top antics of faux prince Dandini. Both performers zealously commit to the work’s comedic tone, from Magnifico’s oblivious buffoonery to Dandini’s relished mockery of regality. Even more levity is provided through the delightfully spoiled stepsisters, Clorinda and Tisbe, played by Angela Mortellaro and Victoria Vargas, respectfully. The sisters’ pampered idle is hilarious from the start, as the spoiled sisters literally worm their way across the stage, too lazy to stand on their own.
The overall environment is imaginatively rendered by set designer Erhard Rom who has orchestrated a seamless transition between the royal palace and the more humble Magnifico home. Costume designer James Schuette offers an endless procession of memorably attire, most notably the identically tuxedoed ensemble and the radiant ivory gown in which Angelina makes her entrance at the royal ball. Lighting designer Jane Cox further embellishes the vivid tone, energetically shifting from shadowy blue hues to jubilant sweeps of illumination. Such deftness of collective design is perhaps best exemplified by a striking sequence in which the Prince journeys through a violent thunderstorm in search of the mystery woman that has stolen his heart.
By excising the fairytale elements of Cinderella, Rossini found inspiration in the every bit as mystifying force of love. Entrusting this work to an equally inspired cast and creative team, the Minnesota Opera has developed a tribute to romance that will leaves audiences utterly spellbound.
Cinderella runs at the Ordway Center through November 7th.
Comments
Was there an orchestra?
Yes, the score is performed by the Minnesota Opera Orchestra.
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