La Cenerentola

Prague National Theatre, The Estates Theatre, Prague, Czech Republic

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5 PM

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Important Info

Type: Opera

City: Prague, Czech Republic

Starts at: 17:00

Acts: 2

Intervals: 1

Duration: 3h 5min

Sung in: Italian

Titles in: Czech,English

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

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You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

Works of Gioachino Rossini, a master of the bel canto style. The libretto, penned by Jacopo Ferretti, is based on Charles Perrault’s fairy tale Cendrillon, first published in 1697 within the collection Les Contes de ma Mère l'Oye.

One of the most frequently performed works of Gioachino Rossini, a master of the bel canto style, was premiered on 25 January 1817 at the Teatro Valle in Rome.

Similarly to the other creators inspired by Perrault’s fable, Ferretti and Rossini interpret the story of Cinderella in their own way, presenting a broad scope of situations, ranging from the moving to the comical, as well as rewarding types of characters and splendid musical numbers, one of the most famous being Cinderella’s aria Nacqui all'affanno… Non più mesta, a staple of many a world-renowned diva.

Guaranteeing a singular and intriguing adaptation is the production being undertaken by the acclaimed Hungarian stage director and actor Enikő Eszenyi, who has previously created in Prague well-received stagings of Shakespeare plays for the Estates Theatre (The Comedy of Errors, Much Ado About Nothing and A Midsummer Night’s Dream), as well as appeared in Robert Wilson’s 1914. The music preparation has been entrusted to the young Czech conductor Jan Kučera. To date, the National Theatre has only staged a single production of La Cenerentola, in 1932.

History

Premiere of this production: 25 January 1817, Teatro Valle, Rome

La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.

Synopsis

In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto, simply for ease of staging.

Time: Late 18th century – early 19th century
Place: Salerno (Italy)

Act 1

Angelina, known to her stepfather and stepsisters as "Cenerentola", is forced to serve as the maid in her own home. She sings of a king who married a common girl ("Una volta c’era un rè"). A beggar arrives; her stepsisters, Clorinda and Tisbe, want to send him away, but Cenerentola gives him bread and coffee. Courtiers follow, announcing that Prince Ramiro will come to visit while he searches for the most beautiful girl in the land to wed. Cenerentola's stepfather, Don Magnifico, hopes to use this as an opportunity to save his own failing fortune.

When the room is empty, Ramiro enters alone, disguised as a valet. The "beggar" - in fact, his tutor, Alidoro - has informed him of a goodhearted young woman spotted here. Ramiro intends to find her incognito. Cenerentola returns, and she and Ramiro are attracted to each other (duet: "Un soave non-so che"), but when he asks who she is, she's overwhelmed and flees.

Finally, the "prince" arrives – the real valet, Dandini, who has taken his master's place - and Magnifico, Clorinda, and Tisbe fall over themselves to flatter him. He invites the family to a ball that evening, where he plans to find his bride; Cenerentola asks to join them, but Magnifico refuses (quintet: "Signor, una parola"). This callousness isn't lost on Ramiro. Alidoro, still in his rags, returns to inquire after a third daughter in the house; Magnifico claims she has died. Left alone with Cenerentola, Alidoro promises to take her to the ball himself, and that God will reward her kindness ("Là del ciel nell’arcano profondo").

The prince and his valet have retired to Ramiro's country house in some confusion, as neither of Magnifico's daughters resembled the worthy bride Alidoro had described. When Clorinda and Tisbe arrive, Dandini gives them a little test: he offers his "valet" to whichever sister the "prince" does not marry. The ladies are outraged at the idea of marrying a servant. Alidoro then arrives with a beautiful, unknown lady who strangely resembles Cenerentola. Unable to make sense of the situation, they all sit down to supper, feeling as if they are in a dream.

Act 2

Magnifico frets over the competition his daughters now face from the strange lady ("Sia qualunque delle figlie"), but Cenerentola isn't interested in the "prince," saying she's fallen in love with his servant. An overjoyed Ramiro steps forward; however, Cenerentola tells him that she's going home and doesn't want him to follow her. If he really cares for her, she says, he will find her, giving him one of a matching pair of bracelets. The prince determines to do exactly that ("Sì, ritrovarla io giuro").

Meanwhile, Magnifico confronts the disguised Dandini, insisting that he choose one of his daughters to marry. Dandini tries to stall, but is forced to admit that he's actually the valet and not the prince at all (duet: "Un segreto d’importanza").

A furious Magnifico and his daughters return home, where they order Cenerentola, back in rags, to serve them. A storm is thundering outside. Alidoro sabotages Ramiro's carriage so that it breaks down in front of Magnifico's manor, forcing the prince to take refuge within. Cenerentola and Ramiro recognize each other's bracelets; the others comment on the situation (sextet: "Siete voi?"). When Ramiro threatens Cenerentola's recalcitrant family, she asks him to forgive them.

Ramiro and Cenerentola are married, and celebrate their wedding at the palace. Magnifico tries to win the favor of the new princess, but she asks only to be acknowledged, at last, as his daughter. She reflects on the misfortune to which she was born and the sudden reversal of her fate, then forgives her family for all her past unhappiness, adding that her days of sitting sadly by the fire are over ("Nacqui all'affanno... Non più mesta"). Everyone present acknowledges that she truly is worthy of the throne.

Venue Info

Prague National Theatre - Prague
Národní 2

The National Theatre is the prime stage of the Czech Republic. It is also one of the symbols of national identity and a part of the European cultural space, with a tradition spanning more than 130 years. It is the bearer of the national cultural heritage, as well as a space for free artistic creation.

The National Theatre (Czech: Národní divadlo) in Prague is known as the alma mater of Czech opera, and as the national monument of Czech history and art.

The National Theatre belongs to the most important Czech cultural institutions, with a rich artistic tradition, which helped to preserve and develop the most important features of the nation–the Czech language and a sense for a Czech musical and dramatic way of thinking.

Today, the National Theatre is made up of four artistic companies – the Opera, Drama, Ballet and Laterna magika. It artistically manages four stages – the three historical buildings: the National Theatre (1883), the State Opera (1888), and the Estates Theatre (1783), and the more recently opened New Stage (1983). The Opera, Drama and Ballet companies perform not only titles from the ample classical legacy, in addition to Czech works, they also focus on contemporary international creation.

Grand opening

The National Theatre was opened for the first time on 11 June 1881, to honour the visit of Crown Prince Rudolf of Austria. Bedřich Smetana's opera Libuše was given its world premiere, conducted by Adolf Čech. Another 11 performances were presented after that. Then the theatre was closed down to enable the completion of the finishing touches. While this work was under way a fire broke out on 12 August 1881, which destroyed the copper dome, the auditorium, and the stage of the theatre.

The fire was seen as a national catastrophe and was met with a mighty wave of determination to take up a new collection: Within 47 days a million guldens were collected. This national enthusiasm, however, did not correspond to the behind-the-scenes battles that flared up following the catastrophe. Architect Josef Zítek was no longer in the running, and his pupil architect Josef Schulz was summoned to work on the reconstruction. He was the one to assert the expansion of the edifice to include the block of flats belonging to Dr. Polák that was situated behind the building of the Provisional Theatre. He made this building a part of the National Theatre and simultaneously changed somewhat the area of the auditorium to improve visibility. He did, however, take into account with utmost sensitivity the style of Zítek's design, and so he managed to merge three buildings by various architects to form an absolute unity of style.