La Cenerentola was
premiered at the Teatro Valle, Rome
on January 25th 1817. It
is the composer’s most popular work
after his Il Barbiere di Siviglia. The
libretto by Giacomo Ferretti is not
based directly on Charles Perrault’s
fairy tale of 1697 but was plagiarised
from Pavesi’s Agatina o la virtu premiata,
which had its premiere at La Scala in
1814. Originally Rossini was supposed
to have set a different work. However,
the ecclesiastical censors in Rome insisted
on so many changes that the composer
ditched his original plan and Ferretti’s
libretto. With less than a month to
go before the scheduled first night,
Rossini asked Ferretti to supply a new
libretto. Both composer and librettist
had to make compromises. Rossini borrowed
the overture from his own La Gazzetta,
written for Naples a mere five months
earlier. He also employed a local musician
to assist him by composing all the secco
recitatives as well as other pieces
that are now omitted in performance
and recordings, which follow Alberto
Zedda’s Critical Edition.
On record La Cenerentola
has had a charmed life. A 1983 recording
on Sony featured Vallentini-Terrani
as the eponymous heroine. This version
ran alongside a zestful performance
by Abbado with Berganza (DG) until a
Philips issue of 1987 featuring the
lean mezzo of Agnes Baltsa under Neville
Marriner’s sympathetic baton largely
displaced both (now available at mid-price
on two CDs in Decca’s Compact Opera
Collection). Decca’s well-cast and recorded
issue featuring the formidable Angiolina
of Cecilia Bartoli under Chailly then
eclipsed everything. Personally I found
Bartoli’s Cenerentola a little overpowering
with her Angiolina likely to make short
shrift of her stepsisters. Nor was I
wholly happy with Matteuzzi as the Don
Ramiro. However, I found my ideal with
the 1994 Teldec recording from which
this generous selection is derived.
Jennifer Larmore initially presents
a softer and more vulnerable Angiolina
than some of her rivals. Her Una volta
(tr. 2) is poignant and expressive with
a lovely creamy tone whilst her contribution
to the stirring rondo finale is a joy
without being overwhelming or showy
(trs. 17 and 18). Raúl Giménez
sings her suitor, Don Ramiro. His stylish
tightly focussed tenor takes the runs
without aspirants and it is a pity this
selection does not include his Si, ritrovaria.
The smooth well-phrased baritone of
Gino Quilico as the Prince’s stand in
Dandini is well differentiated from
Alessandro Corbelli’s superb Don Magnifico
in their duet Un segreto (tr. 14). The
role of Don Magnifico fits Corbelli
like a glove. His singing and characterisation
here far surpasses his Dandini on the
Chailly version on Decca. Alastair Miles
gives as well phrased and sonorous rendering
of La del ciel (tr. 10).
What really makes a
reading of Cenerentola stand out is
the handling of the ensembles. In this
respect Carlo Rizzi is outstanding.
The interplay of voices has to be needle
sharp and it is. So to is the articulation
of the fine Covent Garden chorus who
are a credit to their Terry Edwards
their chorus master. The recording is
clear and well balanced. Regrettably
the brief synopsis is not track related
but neither is that on the full price
highlights of Bartoli’s Cenerentola.
This omission is partly compensated
for here by brief character descriptions.
This generously timed and tracked selection
of highlights from an exhilarating performance
is thoroughly recommended. If it tempts
you to purchase the full recording you
will enjoy that too.
Robert J Farr
Chorus and Orchestra of the Royal Opera House,
Covent Garden, London/Carlo Rizzi