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Rossini: La Cenerentola [DVD] [2007]

1 customer review

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£24.95 & FREE Delivery in the UK. Details Only 6 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Actors: Ann Murray, Riccardo Chailly, Francisco Araiza, Gino Quilico, Walter Berry
  • Format: Classical, Colour, DVD-Video, PAL, Subtitled, Widescreen
  • Language: English, German, French, Spanish
  • Subtitles: German, English, French, Spanish, Italian
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 4:3 - 1.33:1
  • Number of discs: 1
  • Classification: Exempt
  • Studio: ARTHAUS
  • DVD Release Date: 27 Nov. 2006
  • Run Time: 171 minutes
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • ASIN: B000JLQS7Y
  • Amazon Bestsellers Rank: 163,342 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Reviews

Product Description

Cenerentola (La)

From Amazon.co.uk

La Cenerentola is one of the few operas to have an important subtitle, "The Triumph of Virtue". This Salzburg production makes a point of its being a moral tale rather than a mere fairy tale like the version reflexively sung by Angelina in her "Cavatina": the defeat and forgiveness of the stepsisters and their greedy father is a settling of moral accounts. The production is also tremendous fun--partly because of gimmicks like the mechanical coach and horses that arrives on stage in the high wind of the Act Two storm--but mostly because of the endlessly energetic pulse of Riccardo Chailly's conducting of the Vienna Philharmonic. Anne Murray is an ideal Angelina, equally good at the heroine's witty intelligence and at the complexity of her emotional situation--loyal to the family that mistreats her. Francisco Araiza is an attractive Don Ramirez; the byplay between him and his servant Dandini (Gino Quilico)--in the duet "Zitto, zitto. Piano, piano", for example is for once genuinely amusing. Parts like Don Magnifico were the late Walter Berry's stock-in-trade--his occasionally menacing portrayal is far richer and more interesting than a mere buffoon.

On the DVD: As usual with Arthaus Musik, an excellent production and performance is left to sink or swim without any detailed production notes either on the disc or in the leaflet. The sound is standard PCM stereo and the picture ratio 4:3. There are instructions in French, German, English and Spanish and subtitles in all of those languages plus Italian. --Roz Kaveney --This text refers to an out of print or unavailable edition of this title.

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Format: DVD
Having seen the DiDonato and von Stade DVD productions too, I have no hesitation in proclaiming this my runaway favorite for four reasons: (1) The stage production is saturated with ancien regime consciousness, beginning right at the start when Don Magnifico makes his first appearance. The daughters treat him with respect and as an authority to be deferred to --- a reigning paterfamilias. This sets the tone for the opera and signals that status and social class distinctions are in everyone's blood and are of the utmost importance. This is consistent throughout the production and gives a vital reality to all the snobberies and nose-in-the-air disdain of the two sisters in their treatment of Cinderella and their horror when the "valet" (the disguised prince) is proposed as a consolation prize to the loser. In the other two productions, the father is mainly regarded as a schemer who just happens to be older. Much is lost when the supreme importance of the breaking of the class barrier so emphasized by Chailly is reduced in the other productions to just getting rich and having servants to order around, which is a very different thing. (2) The stage direction attains the rare heights of a remarkably expressive spatial placement of the six characters that weaves their voices, emotions and gestures into a true aesthetic ensemble, with all six on camera at the same time and reacting to each other, rather than the camera flitting back and forth between broken up clusters who are keeping their separate spaces. What emerges is a true unity where the musical and emotional totality is immensely more than the sum of its parts.Read more ›
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 16 reviews
14 of 15 people found the following review helpful
No Fairy Godmother Here 27 Aug. 2001
By Richard Alexanian - Published on Amazon.com
Format: DVD
This is the story of Cinderella with a different twist. A Step father vs a Stepmother. Don Magnifico played by Walter Berry and his two warring daughters/siblings Clorinda And Tisbe. A pair of bracelets rather than glass slippers. Finally, the Prince's tutor, Alidoro, posing as a beggar to whom Cinderella gives bread. Alidoro will become Ciderella's angel and advocate. No Fairy Godmother here. Dandini, the counterfeit Prince played by Gino Quilico is a pure delight, pulling of the deception in brilliant fashion. Francisco Araiza as the real Prince whom I have seen in other Opera's is of magnificent tenor voice along with superb acting. Ann Murray as Cinderella is incomparable, wow what a performance, convincing, heartfelt and purley delightfull in every respect. The themes of forgiveness and respect hit home. Certainly a Five Star rating at Amazon.Com, but a 10 out 10 for performance, visual scenery and the Vienna Philharmonic. Some of my favorite scenes were the Wine Cellar, the Coach ride and Dandi's interplay with Don Magnifico's daughters and much much more. Totally delightfull. A must for any collection. Sound Quality A1 Picture Qaulity- Clean and crisp
9 of 9 people found the following review helpful
Overall enchantment and performance. 26 July 2001
By Mrs. Sunar Tjahjono - Published on Amazon.com
We are amazed that this delightful opera, although containing so much similarity to the tunes and music in The Barber of Seville, is not as wellknown and popular. We appreciate that the Vienna State Opera undertake to perform this opera, so that we can enjoy the enchanting music and the sparkling Belcanto which is Rossini's identity, sung and performed with such excellence and brilliancy by all the singers. Especially tenor Francisco Araiza, which I have seen in different operas, shows in here all his excellence by acting and singing so magnificent and beautifully, accomplishing the character he plays as The Prince. In overall this opera, although not as wellknown as The Barber of Sevilla, is not less enchanting and so delightful which give us so much enjoyment from the beginning to the end, particularly as it is performed with such excellence and beautiful singing and backed by such splendid scenery and colorful background.
15 of 17 people found the following review helpful
A whole new perspective on Cinderella! 13 July 2000
By Heather Tiemens - Published on Amazon.com
Wow! This is one fantastic production of La Cenerentola! The orchestra starts out with Rossini's finest overture, and the opera only rises in brilliance to the final, spectacular scene. The male lead is extremely good, and of course Cinderella is incomparable. There is some very amusing interplay between the prince and his valet, who have switched places, and a dazzling sextet when Cinderella and the prince finally find each other. The music is absolutely flawless. The stage settings leave a little to be desired, but who cares with this kind of singing? You should absolutely get this!
4 of 4 people found the following review helpful
The best live La Cenerentola, even if the Glyndebourne one is very close. 10 Jan. 2013
By A. F. S. Mui - Published on Amazon.com
Format: DVD
Yes, I have to agree that this 1988 Salzburg production, directed expertly by Viller and performed wonderfully by the entire ensemble under Chailly, is the best La Cenerentola live DVD to-date.
The cast is good, even if not the biggest names. You would have to 'find out' who they are these days, with perhaps the exception of Ann Murray, who sings the titlerole to great level of musical and dramatic artistry (I like her more than Frederica von Stade), if not outright beating Garanca or Didonato, the two current great Angelinas.
However, it is the 'supporting cast' of Ramiro, Dandini, Clothile and Tisbe as well as Don Magnifico that make this live performance better than any other -
today's almost unknown tenor Francisco Araiza is an even more burnished Don Ramiro than for Abbado in the Ponnelle film 8 years ago (1980). He contrasts well with Gino Quilico's Dandini - Dandini being even more 'princely' outwardly than Ramiro (as accords with the original score), but this Prince has an air of inner authority that Dandini lacks, and this is why Araiza's portrayal is spot on in this performance.
The two sisters are also worthy of mention. Both are sophisticated yet shallow, good looking yet unkind (who says that the sisters of Angelina are ugly?)
Ann Murray is a very convincing Angelina - she is appropriately austere and mild, yet owning an understated elegance. Almost as convincing as Elina Garanca in the MET version.
The sets are simply terrific - the best, even if compared to Ponnelle's luxurious film, and the theatrical effect of Ramiro's ride in the storm is stunning - Quilico's Dandini actually falling to the ground with the wild jerks, and Araiza's Ramiro bumped so convincingly in his 'seat'!
Visually, this La Cenerentola is the BEST period production with the Vienna 1994 production of Cosi fan tutte (Muti/Schade/Skovhus/Frittoli/Kirchschlager). Absolutely stunning sets and costumes, no quibble. We Asians simply love these!
3 of 3 people found the following review helpful
Live 1988 Salzburg La Cenerentola by Chailly, well-contrasted with the Ponnelle film version. 13 Dec. 2012
By Abert - Published on Amazon.com
Format: DVD
The essentials of the story - a mistreated girl with a kind heart, and kind hearts are rewarded by marrying handsome princes. Angelina is unlike most of Rossini's other comedic heroines; she is not in the mold of the feisty, strong-willed women like those found in 'Il Turco in Italia' and 'L'italiana in Algeri' . Angelina doesn't have a significant aria until the act II finale, a vocal-fireworks spectacular that she shares with most of the principals and the chorus.
La Cenerentola is very much an ensemble work, with Don Magnifico getting three plum arias and the lead tenor Ramiro only getting one significant piece of solo work.
This 1988 Salzburg live production is more down to earth than the 1980 Ponnelle film, based on a 1974 La Scala production. Director Michael Hampe follows Rossini's intentions and makes this a morality tale emphasizing various aspects of the human condition. Angelina is sweet natured and sadly resigned to her plight, the stepsisters are not ugly caricatures, but two vain and selfish women, and there's no attempt to add a comic luster to Don Magnifico. In this production, Magnifico hopes to better his lot in life by finding rich husbands for his daughters.
The music sparkles under Chailly's direction, and the singing is in good hands, the acting is credible, and Hampe's direction is straightforward and unaffected. One of the visual highlights of this staging is the deft handling of the storm scene in act II. Shown largely in silhouette, Don Ramiro is riding in a horse-drawn coach, Dandini holding on for dear life as they hurry through a nighttime storm. The wind is blowing, the coach is bouncing, the horse is galloping, hats blow off--it's great theatre!
Ann Murray is credible as poor Cinderella with her slightly austere demeanour and wonderful vocal acting. The comic relief is the prince's manservant, Dandini, who gets to play Prince for a Day by switching identities with the real prince, Ramiro. Gino Quilico does not approach the role of Dandini as comic buffoon, but rather as a spritely young man who would like to better his station in life and who savors every minute of being the prince. If his duet with Berry's Don NMagnifico 'Un segreto importanza' isn't at all buffo, it is the director's requirement.
Francisco Araiza acts brilliantly in this live performance, showing the proper amount of mild irritation when Dandini oversteps his bounds, and is appropriately comic and authoritative as the Prince looking for someone to love him for himself and not for his title.
Angela Denning and Daphne Evangelatos walk a fine line playing the stepsisters to show us the vanity without becoming objectionable. If they are callous towards Angelina, it's not because they're mean--just two self-absorbed women more interested in themselves than in other people. The only characterization was inadequate was Walter Berry's Don Magnifico. Berry doesn't have the right kind of comic swagger to make Don Magnifico likeable, and his singing is on the dry side throughout.
The other ultra-fine DVD of this work available is of course the film (directed and designed by Jean-Pierre Ponnelle) with Frederica von Stade, Francisco Araiza, Paolo Montarsolo, and Claudio Desderi. The Ponnelle film was based on the 1974 La Scala stage production. Von Stade's Angelina is similar to Ann Murray's--sweet and unaffected and clearly smitten with the disguised Prince. Araiza's Ramiro is a bit more nuanced in the film than on the stage at Salzburg, and Montarsolo's Don Magnifico is a lot more likeable than Walter Berry's is. Montarsolo looks like an impoverished nobleman, whereas Berry's characterization lacks sophistication. Claudio Desderi is more comedic than Quilico. While Quilico has charm, he has not got the devilish cunning of a Simone Alberghini in the 21st Glyndebourne and MET productions.
On the whole, a top-notch live version of Rossini's comic masterpiece that tops the Houston (Brian Large), Glyndebourne, Liceu and MET productions.
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