Review: La Cenerentola"Going For Laughs"The Times of Trenton (Anita Donovan) With La Cenerentola, Opera New Jersey gives its audience a break from deposed monarchs, sundered lovers, ailing heroines and vengeful murders. As part of a summer series with La Traviata and The Merry Widow, the timeless tale of Cinderella, composed in 1817 by Gioachino Rossini with a libretto by Jacopo Ferretti, offers comedy that combines slapstick and satire with a sweet plot wherein virtue does, indeed, triumph. And just for fun, Rossini includes some spoofing of his own previous hit show, The Barber of Seville. Angelina is the "cinder girl" in this scenario, but the mean stepmother is a father, Magnifico, owner of a crumbling mansion and shrinking fortune. His only hope is to marry off one of his two daughters, Clorinda and Tisbe. When he learns that Prince Ramiro is looking for a wife, it seems the answer to his prayers. Ramiro, however, is not naive; he does not wish to be enticed by a pretty face and fine manners, so he sends out a scout to see what is available. His tutor Alidoro (read Fairy Godmother) visits the Magni ficos as a beggar and is rebuffed by the self-absorbed sisters. When Angelina offers him bread and coffee, he concludes he has found the right choice for a princess of the realm. Ramiro then switches places with his groom Dandini in order to investigate the family at his leisure and is soon in agreement with Alidoro. And why not, when Cenerentola -- as she is called by her mean family -- is beautiful, kind, has a fabulous "coloratura contralto" voiceand can wield a broom, if necessary? Leah Wool, a petite, perky ball of fire, is totally in command of the vocal lines and elaborate orna mentation that Rossini wrote for her character. As Ramiro, Javier Abreu adds his high sweet tenor for a delightful romantic pairing. As a distraction, Dandini goes beyond the call of duty when he introduces Magnifico to the Prince's wine cellar, where the grumpy father undergoes an extreme mellow ing. The Prince's courtiers are all too happy to accompany him. Stage director Michael Scarola has a dream cast to work with, fine singers who can also act -- and are willing to do so. From the opening scene, the high-jinks never stop, until one wonders how everyone catches their breath to sing. When the mayhem finally subsides, there is peace and reconciliation -- al though those naughty sisters still look ready for action. Alissa Anderson, who performed here last year in The Pirates of Penzance, and Rebecca Kier portray Tisbe and Clorinda with glittering soprano voices and daring physicality worthy of Carol Burnett. As the obliging servant Dandini, Eric T. Dubin combines a sturdy baritone and a dashing figure with the wry expressions of the oppressed. Bass Matthew Lau is the bombastic Magnifico, while Scott Conner is the calm, crafty Alidoro. The well-tuned male choris ters serving as the Prince's retinue also supply comic business throughout. Designer Tony Fanning supplies simple sets that move well, and Barry Steele oversees the lighting. Patricia Hibbert provides costumes both humble and luxurious, and Elsen Associates delivers some fan tastic wigs. Conductor Robert Wood leads his 30-piece orchestra with undisguised delight and seems to be having as much fun as the audience. |
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