3/5 A Turkish "Cenerentola"? I hope you love the cymbals!
  by J. T. Smith (Seattle, WA USA)
Let me first say that I fully agree with the reviewer above, Mr. Dollinger, that the singing is first rate among the two main protaganists, Signor Florez and Signorina Didonato. I myself was put off by the staging which, unfortunately, is among the common type of euro-trash that is abundant in opera today. Why can't we just let the music and poetry speak for itself? Maybe I'm an old fashioned purist when it comes to operatic staging but what would one think if "South Pacific" was staged on the moon or in the 13th century? I mean...how many times does the stage director have to subjegate the art to their own "reinterpretation"?
My main concern with this particular performance, though, is the music and the conductor Patrick Summers. From the first few bars of the overture, and throughout the opera, in numerous places in the score - especially in the tutti parts - the cymbals are used almost without rest. You can take "L'Italiana in Algeri", "Il Turco in Italia" and even Mozart's "Abduction from the Harem" and combine all the parts that were actually written for cymbals(an instrument not commonly used in the orchestra at the time that this opera was composed...and only used for an "oriental" effect)and it wouldn't add up to the amount of times it is employed in this performance. It was a real distraction to me and I really felt myself cringing as this wonderful score unfolded and with every accent in the music there was another "clang!!". It reminded me of Sir Thomas Beecham's famous remark about the sound of the harpsichord being likened to the sound of two skeletons copulating on a metal roof!


4/5 It Should have Led the Pack
  by David D. Dollinger (Pasadena, CA)
When I first read that there was a Cenerentola in the pipeline with JDF and DiDonato I began anticipating its release. Subsequently there were some clips on YouTube which were disturbing--not the singing but the staging. When it arrived I played it immediately to see how it would compare with the Glyndebourne DVD. Well, my anticipation of the two leads was validated. In short they are superb both vocally, dramatically and physically. As good as the leads in the Glyndebourne are (Ruxandra Donose and Maxim Mirinov) and they are very good-- but better is clearly the enemy of the good.

There are two areas of criticism, however, that must be aired. The Liceu production is a joint effort of four (!) houses. Alas it is evocative of nothing in particular. Utilitarian, but nothing more. The production at Glyndebourne is traditional yet the production is directed by Peter Hall and it shows. The Liceu production aimed at a cartoon effect. They succeeded. A pity. I wonder how long this production will last. I can't imagine that it will have "legs". The costumes are exaggerated and "day-glo" colors are used throughout. Hall aimed at a much more realistic concept. Rossini wanted nothing "magical" and that is what Hall delivers. But Rossini delivered a different kind of magic: the music. Jurowski and the London Philharmonic deliver a wonderful performance, elegant spirited and glowing. While the Liceu pit band may not be the equivalent of the London Phil are a very good house orchestra and play very well for Summers--who has conducted this production in Texas.

In the Liceu production the remainder of the roles are cast from regular singers in the house. The Glyndebourne production is cast from strength and delivers better singers. This was a festival production and it shows. The Liceu singers are always adequate and sometime more, but in the end they have to yield to the English production, notably the Don Magnifico, sung by Luciano di Pasquale whose scrofulous appearance is matched by a wonderfully Italian buffo bass. When on stage he clearly dominates by virtue of physique and voice. His counterpart at the Liceu is both leaner of figure and voice.

But in the end we have to return to Juan Diego and DiDonato. They are charismatic stylish singers who never fail to deliver. Indeed the auditor is treated to some of the best Rossini singing in years. When they are on stage there is a frisson that is unmatched. Clearly theirs is a five star performance. It also has to noted that the Glndebourne performace is on Opus Arte and is very pricey although Amazon sellers probably offer a more attractive price.