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.