Dramma giocoso in two acts, 1817 - Music Gioacchino Rossini - Libretto Jacopo Ferretti
ABAO-OLBE, Bilbao (2016) - Opéra de Toulon Provence Méditerrannée (2013)
Musical direction, Antonello Allemandi; Production and Costume design, Jean-Philippe Clarac & Olivier Deloeuil; Lighting design, Rick Martin; Artistic collaboration, Lodie Kardouss
José Maria Lo Monaco (Angelina) ; Edgardo Rocha (Don Ramiro) ; Paolo Bordogna (Dandini) ; Bruno de Simone (Don Magnifico) ; Ievgen Orlov (Alidoro) ; Marta Ubieta (Clorinda) ; María José Suárez (Thisbe)
Opéra de Toulon Provence Méditerranée, in partnership with Clarac-Deloeuil > le lab
In a Marivaux-style intrigue, the multiple disguises present throughout La Cenerentola are used to reveal the true essence of beings. Indeed, it is the only thing that remains from Perrault’s tale, after an overwhelming jumble of disguise upon disguise: the Prince loves Cenerentola for what she is, rather than for what she seems to be. This production is stripped of all supernatural aspects, but not of the magic – the disguises are at the heart of the message. We do not play on the psychoanalytic aspects of the book. On the contrary, we make light of these disguises, playing up a Marivaux state of mind, recognising them as so many ways of displaying, lying, but especially revealing the ridicule in every one of us.