tales usually have a moral to go along with the story. What message do you think Rossini and Ferretti were trying to send with their own special take on Cinderella? (Hint: Think about Cenerentola’s song from Acts I and II.)
n In
Italian, the name “Alidoro” translates as “wings of gold.” What point do you think the creators were trying to make about Alidoro and his character by giving him this name?
n Cenerentola
enters the ball with a veil over her head. Why do you think this is? What do you think is the significance of the many disguises in the opera?
David M. Rubenstein Chairman Deborah F. Rutter President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director
dress Rehearsal
Gioachino rossini’s
Cinderella
Performance Guide
n Fairy
Cuesheet
washington national opera
THINGS TO THINK ABOUT…
Libretto by Jacopo Ferretti after Cendrillon by Charles Perrault Production from Houston Grand Opera Conducted by Speranza Scappucci Directed by Joan Font
Francesca Zambello Artistic Director General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.
WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello. The Domingo-Cafritz Young Artist Program is made possible through the generous support of The Morris and Gwendolyn Cafritz Foundation. Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.
Don Magnifico dreams of wealth, power, and a royal marriage for one of his daughters.
WHAT TO WATCH AND LISTEN FOR… n How
Cenerentola is dressed in simple colors, while the other singers’ costumes are often more shocking and vibrant. What do you think this says about the various characters and their personalities?
n Moments
of rapid-fire singing that move up and down the musical scale (a hallmark of bel canto), especially during Cenerentola’s final aria (AHR-ee-uh).
n How
the scenes between arias and ensembles sound almost as if they are being spoken—a practice known as “recitative.”
Costume sketches by Joan Guillén. Photos by Brett Coomer/Houston Grand Opera
Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.
Classic fairytale meets Italian comedy in this reimagined story of the girl who spends her life sweeping cinders, but dreams of something more. If you think you know Cinderella, think again.
Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.
© 2015 The John F. Kennedy Center for the Performing Arts
David and Alice Rubenstein are the Presenting Underwriters of WNO.
Major support for WNO is provided by Jacqueline Badger Mars.
About Rossini’s
Cinderella
Based on a 17th-century French version of the fairytale, Cinderella (or La Cenerentola in Italian, pronounced lah cheh-neh-REHN-toh-lah) was written by Gioachino Rossini (jyah-KEEN-oh rohss-EE-nee) when he was just 24 years old. The piece included a few recycled tunes by Rossini and some music from another composer. Though Rossini and his librettist, Jacopo Ferretti, used the well-known Cinderella fantasy as their inspiration, the opera features no magic tricks and no supernatural characters.
The Story ACT I Sisters Clorinda (pronounced kloh-REENdah) and Tisbe (TEEZ-beh), daughters of Baron Don Magnifico (dohn mag-NEE-feekoh) admire themselves while their halfsister Angelina (ahn-jeh-LEE-nah), whom they teasingly call “Cenerentola,” because she’s always covered in “ceneri,” or ashes, from the kitchen fire, cleans house. Alidoro (ah-lee-DOHR-roh), a philosopher and tutor to the kingdom’s prince, arrives at their door. He has mysteriously disguised himself as a beggar, and Clorinda and Tisbe shoo him away. Cenerentola, however, offers him food and drink. Suddenly, palace messengers arrive announcing the prince is coming to invite Don Magnifico’s daughters to a ball.
There, they say, the prince will choose a wife. When Prince Ramiro (rah-MEEroh) arrives, he too is in disguise, having switched places with his servant Dandini (dahn-DEE-nee) to spy on potential brides. When Ramiro and Cenerentola meet, they fall instantly in love despite his servant’s clothing and her poor appearance. She expresses a desire to go to the ball, but Don Magnifico refuses. Left alone, Cenerentola is comforted by Alidoro, who has returned as his true self. He promises everything will change for her and helps prepare her for the ball. At the palace, Clorinda and Tisbe compete for the “prince’s” affections, while Don Magnifico is distracted by the luxuries of the royal family. Dandini—still in disguise as the prince—tells the sisters that, while he can only marry one, the other can marry his “servant.” The sisters reject Ramiro (who’s still posing as a valet), and the chaotic scene is interrupted by the arrival of a beautiful veiled woman. The veiled woman captivates the court by announcing she favors goodness over wealth, and eventually reveals herself as Cenerentola. Everyone is shocked. Magnifico and his daughters convince themselves the woman cannot possibly be the lowly kitchen maid. Ramiro, unsure as to Cenerentola’s identity, is instantly reminded of someone he’s already met.
ACT II
About Gioachino Rossini
After the ball, Don Magnifico and his daughters daydream about royal life. Meanwhile, Dandini offers Cenerentola his own “royal” hand, but she refuses, announcing she’s in love with his servant. Ramiro bursts in, having overheard her confession, and proposes marriage. Yet before each can discover who the other truly is, Cenerentola presents him with one of two bracelets she has been wearing. If he wishes to marry her, she says, he must discover how she actually lives. Before she leaves, she challenges him to search the kingdom for a woman with a bracelet matching the one she has given him. The prince vows to find her. Alone with Don Magnifico and his daughters, Dandini reveals he is really the prince’s valet and sends a furious Don Magnifico home.
Born in Italy to musical parents, Gioachino Rossini (1792–1868) worked as a professional musician from age nine. An accomplished singer and instrumentalist, he turned to composing operas at age 18 and became a contributor to a popular operatic style now known as bel canto (or “beautiful singing,” pronounced bel KAN-toh). His operas showcase the beauty and agility of the human voice and remain in high demand to this day. Rossini’s William Tell and The Barber of Seville can often be heard in movies and on television.
Back at the baron’s house, Cenerentola has changed into her servant’s clothes and dreams of Ramiro while clutching her remaining bracelet. But will Ramiro find her? Will their love be strong enough to overcome their many differences and disguises? If you believe in happily ever after, you might already know the answer.
About Washington National Opera
Main Characters Angelina/Cenerentola, a housemaid (mezzo-soprano) Don Magnifico, a wealthy baron and Cenerentola’s stepfather (bass) Clorinda (soprano) and Tisbe (mezzo-soprano), his daughters Don Ramiro, a prince (tenor) Alidoro, the prince’s tutor (bass) Dandini, the prince’s valet (baritone)
Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. As an affiliate of the John F. Kennedy Center for the Performing Arts, WNO presents several operas each year at the Kennedy Center Opera House and performs throughout the city, offering training and enrichment programs year-round. In the past decade, WNO has reached worldwide audiences through international broadcasts. To learn more about opera visit www.kennedy-center.org/artsedge and click the tag “opera”
About Rossini’s
Cinderella
Based on a 17th-century French version of the fairytale, Cinderella (or La Cenerentola in Italian, pronounced lah cheh-neh-REHN-toh-lah) was written by Gioachino Rossini (jyah-KEEN-oh rohss-EE-nee) when he was just 24 years old. The piece included a few recycled tunes by Rossini and some music from another composer. Though Rossini and his librettist, Jacopo Ferretti, used the well-known Cinderella fantasy as their inspiration, the opera features no magic tricks and no supernatural characters.
The Story ACT I Sisters Clorinda (pronounced kloh-REENdah) and Tisbe (TEEZ-beh), daughters of Baron Don Magnifico (dohn mag-NEE-feekoh) admire themselves while their halfsister Angelina (ahn-jeh-LEE-nah), whom they teasingly call “Cenerentola,” because she’s always covered in “ceneri,” or ashes, from the kitchen fire, cleans house. Alidoro (ah-lee-DOHR-roh), a philosopher and tutor to the kingdom’s prince, arrives at their door. He has mysteriously disguised himself as a beggar, and Clorinda and Tisbe shoo him away. Cenerentola, however, offers him food and drink. Suddenly, palace messengers arrive announcing the prince is coming to invite Don Magnifico’s daughters to a ball.
There, they say, the prince will choose a wife. When Prince Ramiro (rah-MEEroh) arrives, he too is in disguise, having switched places with his servant Dandini (dahn-DEE-nee) to spy on potential brides. When Ramiro and Cenerentola meet, they fall instantly in love despite his servant’s clothing and her poor appearance. She expresses a desire to go to the ball, but Don Magnifico refuses. Left alone, Cenerentola is comforted by Alidoro, who has returned as his true self. He promises everything will change for her and helps prepare her for the ball. At the palace, Clorinda and Tisbe compete for the “prince’s” affections, while Don Magnifico is distracted by the luxuries of the royal family. Dandini—still in disguise as the prince—tells the sisters that, while he can only marry one, the other can marry his “servant.” The sisters reject Ramiro (who’s still posing as a valet), and the chaotic scene is interrupted by the arrival of a beautiful veiled woman. The veiled woman captivates the court by announcing she favors goodness over wealth, and eventually reveals herself as Cenerentola. Everyone is shocked. Magnifico and his daughters convince themselves the woman cannot possibly be the lowly kitchen maid. Ramiro, unsure as to Cenerentola’s identity, is instantly reminded of someone he’s already met.
ACT II
About Gioachino Rossini
After the ball, Don Magnifico and his daughters daydream about royal life. Meanwhile, Dandini offers Cenerentola his own “royal” hand, but she refuses, announcing she’s in love with his servant. Ramiro bursts in, having overheard her confession, and proposes marriage. Yet before each can discover who the other truly is, Cenerentola presents him with one of two bracelets she has been wearing. If he wishes to marry her, she says, he must discover how she actually lives. Before she leaves, she challenges him to search the kingdom for a woman with a bracelet matching the one she has given him. The prince vows to find her. Alone with Don Magnifico and his daughters, Dandini reveals he is really the prince’s valet and sends a furious Don Magnifico home.
Born in Italy to musical parents, Gioachino Rossini (1792–1868) worked as a professional musician from age nine. An accomplished singer and instrumentalist, he turned to composing operas at age 18 and became a contributor to a popular operatic style now known as bel canto (or “beautiful singing,” pronounced bel KAN-toh). His operas showcase the beauty and agility of the human voice and remain in high demand to this day. Rossini’s William Tell and The Barber of Seville can often be heard in movies and on television.
Back at the baron’s house, Cenerentola has changed into her servant’s clothes and dreams of Ramiro while clutching her remaining bracelet. But will Ramiro find her? Will their love be strong enough to overcome their many differences and disguises? If you believe in happily ever after, you might already know the answer.
About Washington National Opera
Main Characters Angelina/Cenerentola, a housemaid (mezzo-soprano) Don Magnifico, a wealthy baron and Cenerentola’s stepfather (bass) Clorinda (soprano) and Tisbe (mezzo-soprano), his daughters Don Ramiro, a prince (tenor) Alidoro, the prince’s tutor (bass) Dandini, the prince’s valet (baritone)
Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. As an affiliate of the John F. Kennedy Center for the Performing Arts, WNO presents several operas each year at the Kennedy Center Opera House and performs throughout the city, offering training and enrichment programs year-round. In the past decade, WNO has reached worldwide audiences through international broadcasts. To learn more about opera visit www.kennedy-center.org/artsedge and click the tag “opera”
tales usually have a moral to go along with the story. What message do you think Rossini and Ferretti were trying to send with their own special take on Cinderella? (Hint: Think about Cenerentola’s song from Acts I and II.)
n In
Italian, the name “Alidoro” translates as “wings of gold.” What point do you think the creators were trying to make about Alidoro and his character by giving him this name?
n Cenerentola
enters the ball with a veil over her head. Why do you think this is? What do you think is the significance of the many disguises in the opera?
David M. Rubenstein Chairman Deborah F. Rutter President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director
dress Rehearsal
Gioachino rossini’s
Cinderella
Performance Guide
n Fairy
Cuesheet
washington national opera
THINGS TO THINK ABOUT…
Libretto by Jacopo Ferretti after Cendrillon by Charles Perrault Production from Houston Grand Opera Conducted by Speranza Scappucci Directed by Joan Font
Francesca Zambello Artistic Director General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.
WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello. The Domingo-Cafritz Young Artist Program is made possible through the generous support of The Morris and Gwendolyn Cafritz Foundation. Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.
Don Magnifico dreams of wealth, power, and a royal marriage for one of his daughters.
WHAT TO WATCH AND LISTEN FOR… n How
Cenerentola is dressed in simple colors, while the other singers’ costumes are often more shocking and vibrant. What do you think this says about the various characters and their personalities?
n Moments
of rapid-fire singing that move up and down the musical scale (a hallmark of bel canto), especially during Cenerentola’s final aria (AHR-ee-uh).
n How
the scenes between arias and ensembles sound almost as if they are being spoken—a practice known as “recitative.”
Costume sketches by Joan Guillén. Photos by Brett Coomer/Houston Grand Opera
Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.
Classic fairytale meets Italian comedy in this reimagined story of the girl who spends her life sweeping cinders, but dreams of something more. If you think you know Cinderella, think again.
Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.
© 2015 The John F. Kennedy Center for the Performing Arts
David and Alice Rubenstein are the Presenting Underwriters of WNO.
Major support for WNO is provided by Jacqueline Badger Mars.