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‘A charming show, coherent and profound’ Opéra, 2013
New co-production with Opéra national du Rhin Sung in Italian with English supertitles
October to November Glasgow | Aberdeen | Inverness | Edinburgh
Supported by The Alexander Gibson Circle
Rossini’s
La Cenerentola This new co-production comes from a creative team fast making its name as expert in Rossini’s comedies. With more than a nod towards the traditions of commedia dell’arte, their take on this much-loved story of the triumph of love over malice is highly theatrical. Mixing fairytale fantasy with heightened reality, the characters are at once fantastical and painfully real, the story dark and cruel but full of warmth and fun.
Conductors William Lacey James Grossmith (30 Oct & 1 Nov) Director Sandrine Anglade Designer Claude Chestier Lighting Eric Blosse Choreographer Pascaline Verrier
Forced to work as servant to her stepfather and stepsisters, Angelina, known to all as Cenerentola, dreams of the past, and of a better life. Kind and generous, she is all that her family is not. Hearing that Don Ramiro is holding a ball to choose a wife, her sisters gleefully prepare themselves for royal life. Then a mysterious veiled lady makes an unexpected appearance at the palace and their ambitions look set to be thwarted…
Angelina Victoria Yarovaya Don Ramiro Nico Darmanin Dandini Richard Burkhard Don Magnifico Graeme Danby Alidoro John Molloy Clorinda Rebecca Bottone Tisbe Máire Flavin
Bright, breathless and full of energy, Rossini’s music demands impressive vocal agility and the best in comedy characterisation. Russian mezzo-soprano Victoria Yarovaya, winner of the 2013 Mercedes Viñas Prize, is Angelina, and rising Rossini star Nico Darmanin is Ramiro. The wonderful ensemble cast also features baritone Richard Burkhard (The Magic Flute 2012), soprano Rebecca Bottone (The Pirates of Penzance 2013) and renowned bass Graeme Danby. William Lacey conducts.
Running time 2 hrs 50 mins approximately For date, venue and Box Office information, go to pages 46 to 51.
These performances wouldn’t be possible without the support of The Alexander Gibson Circle. Find out more on page 26. 7