Don’t expect Walt Disney’s wilting heroine in Rossini’s take on the “Cinderella” fairytale, currently at Seattle Opera.
While the “Cinderella” story is common to many cultures, in an abundance of variations, Rossini’s “La Cenerentola” is a feisty, young woman who defends herself and actively pursues the man she loves. In Rossini’s version, the wicked stepmother has become a wicked stepfather. The composer and his librettist Jacopo Ferretti also scrap the magic: No pumpkin transforming into a coach, no absurdly small shoe accidentally left for the Prince and the fairy godmother is replaced by the Prince’s wise tutor.
“La Cenerentola” is a comedy with a down-to-earth heroine looking for true love, not money or status. When the Prince swaps roles with his valet, Dandini, Cenerentola falls for the Prince in his servant’s guise, unaware of his titular background. When she goes to the ball, it’s not to chase the Prince, but the man she thinks is the Prince’s valet.
Like a dream
The commedia dell’arte flair of the production’s creative team, from the Spanish troupe Els Comediants, brings forth a number of laugh-out-loud moments. Yet, on opening night Jan. 12, there were dozens of other instances that fell just short of the comedic mark, feeling forced. It seemed as if director Joan Font was restraining performers like Patrick Carfizzi as Don Magnifico, Cenerentola’s stepfather, from fully exerting the physicality and characterization that would spur effortless laughter. Carfizzi is a quite capable comedian. He was a joy in the role of Ping in Seattle Opera’s “Turandot” last August, alternately funny and poignant.
In place of a magical fairytale, this production is set in a dream, which allows the reinstatement of some fantastical elements. I did like the set and fanciful costumes in heightened pastels that conjured children’s clothing.
And the design team’s endearing giant mice were genius. Whether cleaning their ears mouse-like with their paws or tumbling acrobatically, their antics not only entertained but also added welcome movement in some of Font’s vexingly static scenes.
The mice, played by dancers, seemed a little sad and as sweetly attentive to Cenerentola and her troubles as the most loving pet — I wanted to take them home.
Musically engaging
The bel canto music in this production does not disappoint. Making his U.S. debut, conductor Giacomo Agripanti directed the orchestra with observant shadings that sustained both the humor and the drama.
Mezzo-soprano Daniela Pini, in her U.S. debut, was a plucky, engaging Cenerentola, with a warmly vibrant voice that nimbly scaled the coloratura peaks and valleys of this role without missing an intonation.
Tenor René Barbera, also a Seattle Opera debut, was equally impressive as Prince Ramiro, including some breathtaking lyrical moments at the top Ramiro’s range.
Baritone Brett Polegato was having a ball, verbally poking and prodding other characters as the Prince’s impertinent valet. He has made the move with ease from dramatic characters like Sharpless in Seattle Opera’s 2012 “Madama Butterfly” to the vocal sprightliness required for Dandini.
Seattle Opera Young Artists Sarah Larsen and Dana Pundt, as Cinderella’s odious stepsisters, proved yet again the talent being nurtured in that program.
As the Prince’s tutor, Alidoro, bass Arthur Woodley lent a grounding stateliness, both vocally and as a character. On the other hand, the men of Seattle Opera’s Chorus interspersed the perfect note of levity with their lighthearted choreography and singing.
Seattle Opera’s “La Cenerentola” plays at Marion Oliver McCaw Hall, 321 Mercer St., through Saturday, Jan. 26. Prices $25-$215. Tickets/information: 389-7676 or www.seattleopera.org.
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