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La Cenerentola by Gioachino Rossini

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Opera in Williamsburg presents: La Cenerentola By Gioachino Rossini April 8 and 10, 2016 in partnership with The America-Israel Cultural foundation (AICF) Kimball Theatre, Williamsburg, Virginia 2 Opera in Williamsburg Naama Zahavi-Ely Founder and Artistic Director Opera in Williamsburg is an innovative opera company that creates productions of fully-staged opera classics with world-class casts in an intimate setting.in Williamsburg, Virginia Funded by ticket sales, grants and contributions, Opera in Williamsburg is committed to the highest artistic standards and maintains a relationship with the International Vocal Arts Institute (IVAI), founded and run by Joan Dornemann and Paul Nadler. Opera in Williamsburg’s objectives are as follows: Create excellent live, mainstream opera performances in Williamsburg, Virginia with outstanding singers, committed acting and directing, and meticulous ensemble work. Provide opportunities for exceptional singers, musicians, and other artists to earn a living by their art Give highly qualified singers opportunities to debut mainstream opera roles professionally Create effective, attractive, engaging and elegant mainstream opera productions through imaginative use of existing resources Attract new audiences to live, mainstream opera Opera in Williamsburg, Inc is a non-profit tax-exempt organization with its own 501(c)3 letter of recognition from the IRS (EIN 47-5511655). We can now receive tax-exempt donations directly and apply for more grants. We are very thankful indeed for the support of members of the community, which has allowed us to reach this point. Volunteers are welcome to join the group of loyal friends whose contributions of advice, assistance, hospitality and funding are gratefully acknowledged. If you are interested, please contact Naama Zahavi-Ely at [email protected]; or contact our advisory board chair, Frank Knuettel, at 757-259-2313. Naama Zahavi-Ely is a music-lover who founded Opera in Williamsburg as one more place where excellent opera productions could be performed and enjoyed. Her policy is to put people first, and to search for and engage outstanding performers and creative team without compromise. She enjoys opera and classical music wherever she travels. She taught Biblical Hebrew at the College of William and Mary for over a decade before retiring to her birth country, Israel. Naama loves sharing opera with her many Williamsburg friends, and sharing the beautiful city of Williamsburg with her many friends in the opera world. She believes that the city is uniquely positioned for creating intimate opera classics of the kind that Opera in Williamsburg specializes in. 3 Don’t miss our next operas! Opera in Williamsburg presents: Rossini’s Il barbiere di Siviglia (The Barber of Seville) October 21 and 23, 2016 Mozart’s Le Nozze di Figaro (The Marriage of Figaro) April 21 and 23, 2017 details at www.operainwilliamsburg.org 4 La Cenerentola by Gioachino Rossini Libretto: Jacopo Ferretti April 8 and 10, 2016 at the Kimball Theatre, Williamsburg Virginia Conductor: Jorge Parodi Stage director: Isabel Milenski Clorinda .......................................................... Michelle Trovato, Soprano Tisbe ......................................................... Fiorella Velez, Mezzo Soprano Angelina .............................................. Maya Yahav Gur, Mezzo Soprano Alidoro ....................................................................... Scott Russell, Bass Don Magnifico .......................................................... Igor Vieira, Baritone Prince Ramiro .................................................... Jonathan Blalock, Tenor Dandini ....................................................................Suchan Kim, Baritone Chorus ...................................................................... Carlton Moe, Tenor ................................................................ Devon Morin, Baritone Assistant Conductor / Piano ............................................. Abdiel Vazquez Violin 1 .............................................................................. Simon Lapointe Violin 2 ........................................................................... Heejin Weissbrod Viola ........................................................................................ Laura Seay Cello ............................................................................... Peter Greydanus Clarinet ............................................................................ Patricia Carlson Stage Manager .................................................................. Jerry Pedroza Costumes, supertitles, and projected backgrounds .... Naama Zahavi-Ely Producer ...................................................................... Naama Zahavi-Ely 5 LA CENERENTOLA - SYNOPSIS Act I In the run-down castle of Don Magnifico, his daughters Clorinda and Tisbe preen themselves. Their stepsister Angelina serves as the family maid; she sings her favorite song about a king who married a good and kind girl. They bully her and call her Cenerentola, Cinder-girl, that is, Dirtyface. There is a knock on the door and a beggar enters. The stepsisters send him away, but Angelina secretly gives him bread and coffee. The beggar is really a disguise: it is Alidoro, tutor to the prince Don Ramiro. Courtiers arrive to announce that Prince Ramiro will soon pay a visit: he is looking for the most beautiful girl in the land and will hold a ball to choose his bride. The two sisters are extremely excited, and rush to tell their father Don Magnifico. He is upset at first since they wake him up from a splendid dream about a flying donkey. When he hears the news, though, he perks up and hopes that the prince will marry one of his daughters: marriage to a high position is the only way to save the family fortune. When the room is empty, Ramiro enters alone, dressed in his servant’s clothes so he can freely observe the prospective brides. Alidoro has told him that there is a girl in the house worthy to be a princess, and Ramiro is determined to find out who she is. Angelina returns and is startled by the presence of a stranger. The two are immediately attracted to each other (Duet: “Un soave non so che”). He asks her who she is, and Ange- lina stammers a confused explanation, before being called away. Finally, the “prince” arrives—in fact Ramiro’s valet, Dandini, in disguise. To Ramiro’s amusement, Magnifico, Clorinda, and Tisbe fall all over them- selves flattering this “prince,” who invites them to the ball. Angelina asks to be taken along but Magnifico refuses (Quintet: “Signor, una pa- rola”). Ramiro notes how badly Angelina is treated. Alidoro reenters as the prince’s tutor with information that there is a third daughter in the house. He demands to see her, but Don Magnifico claims that she has died and silences Angelina when she tries to protest. All leave; Alidoro comes again in his beggar disguise, and tells Angelina that he will take her to the ball and explains that God will reward her good heart. 6 At Ramiro’s country house, Dandini shares with the prince his negative opinion of the two sisters. Both men are confused, since Alidoro has spoken well of one of Magnifico’s daughters. Clorinda and Tisbe appear again, having followed Dandini who still poses as the prince. When he offers Ramiro as a husband to the sister the prince does not marry, they are outraged at the idea of marrying a servant. Alidoro enters with a beautiful unknown lady who strangely resembles Dirtyface. Unable to make sense of the situation, they all sit down to supper, feeling as if they are in a dream. Act II Magnifico fears that the arrival of the stranger could ruin his daughters’ chances to marry the prince (“Sia qualunque delle figlie”). Angelina, tired of being pursued by Dandini, tells him that she is in love with his servant. Overhearing this, Ramiro is overjoyed and steps forward. Ce- nerentola, however, tells him that she will return home and doesn’t want him to follow her. If he really cares for her, she says, he will find her through the bracelet she gives him, one of a pair; and if when he finds her he wants her, she will have him. The prince resolves to win the mysterious girl (“Sì, ritrovarla io giuro”). Meanwhile Magnifico, who still thinks that Dandini is the prince, con- fronts him, insisting that he decide which of his daughters he will marry. Dandini first advises him to be patient, then reveals that he is in fact the prince’s servant (Duet: “Un segreto d’importanza”). Magnifico is furi- ous. Magnifico and the sisters return home in a bad mood and order Ange- lina, again in rags, to prepare supper. During a thunderstorm, Alidoro arranges for Ramiro’s carriage to break down in front of Magnifico’s castle so that the prince has to take refuge inside. Angelina and Ramiro recognize each other as the various parties comment on the situation (Sextet: “Siete voi?”). When Ramiro threatens Magnifico and his daugh- ters who are unwilling to accept defeat, Angelina asks him to forgive them. At the prince’s palace, Ramiro and Angelina celebrate their wedding. Magnifico tries to win the favor of the new princess, but she asks only to be acknowledged at last as his daughter. Born to misfortune, she has seen her life change and invites her family to join her, declaring that the days of sitting by the fire are over (“Non più mesta”). 7 8 JORGE PARODI: CONDUCTOR Argentinean conductor Jorge Parodi has worked at the Teatro Colón (Buenos Aires), Buenos Aires Lírica,
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