The story, always

Autor: Gioachino Rossini.

Musical Director: Riccardo Frizza.

Scene director: Stefan Herheim.

Reparto: D. Korchak, R. Girolami, K. Deshayes, R. Pérez, F. Sempey.

Chorus and orchestra headlines.

Gioachino Rossini did not need a complex literary matter to apply the abstract wealth of his music on it. In this case, the scheme of an identical situation was based, developed through a rich range of variants on it, according to the planned and foreseeable logic of a group of figures that do not simulate his character status, because everyone distinguishes The oppressed innocent of the selfish voracious, in the same way that the prince of the tale quite has to behave like a generous hero who is not easy to cheat.

The only one more individualized figure is that which represents Magnificent Don, the Attrailiary Padrastro de Cinderella, here noble ruined and thief from the dowry of her stepdaughter, seconded by the couple of her daughters, them, the topical harps and cursis He entrusts them the comedy that springs from persistence in ridicule and stupidity.

Musically, the opera displays all the virtues of the author, from the melodic facing to the contrasted exquisiteness of detail, in an inventive torrent whose brilliance it is possible to confuse with joy, as long as you do not forget that we are in a pure exercise abstraction, whose Metaphysical character is crushed after distinct masks, such as jarring when it comes to drawing puppets or winks that are given to the viewer who does not have to take care but to enjoy what he hears without exercising his curiosity about what he sees.

The work is long and, also, reiterative, with some pieces that deserved the visit of the scissors of a dramaturgy that saved us, for example, the Pluulbea scene at the palace winery, where a horno chorus celebrates the ethyl jelgorio of the prison.

The Scene Director is offered to go to the Classical Tale, although libretic and composer have done their best to dilute it and distort it, fleeing disavories from the magic of the fairy godmother or the suspense of who will belong to the foot that slipped off barefoot. Stefan Herheim refuses to renounce the story and imagine a cleaning machine, modern Cinderella, who reads the story. An idea that soon becomes a Farragosa and capricious accumulation of images.

They do not tell the interpreters with the springs of the psychological portrait, but there is room to underline the Bofo or get away from the sentimental resource. Renato Girolami (Gorgeous Don) is delivered to the buffet; Dmitry Korchak (The Prince) is a discrete tenor, and Karine Deshayes (Cinderella), delicate artist in beautiful voice takes out little game to her protagonist, timid and pacata, encouraging at the end. Rocío Pérez and Carol García fulfilled like stepsister, Florian Sempey vulgarizes the breeter waiter disguised as Prince, and Roberto Tagliavini, the philosopher, plays with Garbo to the fairy godmother.

The musical address of Riccardo Frizza is the best of the evening. Perhaps it is delayed at some point, but gets from the always ductile orchestra a sound and an unequivocally Rossinian brio. This was how the public understood, premiered it first. They also liked the singers and, with certain doubts, also the assembly was accepted. Twenty years later, he returns such a problematic title as an enjoyable.