About the Opera

Most people know her as Cinderella, but she’s been known by many different names – Aschenputtel, Cendrillon, Rhodopis, Ye Xian, Cenerentola. No matter the name, this iconic fairytale tells the story of a girl outcast by her family, who lives amongst the cinders, but who manages to look on the world with kindness.  

La Cenerentola is Rossini’s version of Cinderella. It abandons fairy godmothers and pumpkin carriages replaces them with musical mischief and humorous hijinks. Opera Queensland’s semi-staged production emphasises the importance of inner beauty and the unpredictable magic of kindness. In this opera, it’s not the slipper that fits, but the heart that shines.

Fast Facts

• La Cenerentola was first performed on 25 January 1817 at the Teatro Valle in Rome, Italy. 

• The name ‘Cenerentola’ is derived from the Italian work cenere, meaning ash 

• The opera’s full title is La Cenerentola – La bontà in trionfo meaning ‘Goodness in Triumph’ 

• Rossini was only 25 when he composed La Cenerentola 

• The earliest recorded Cinderella story is from Ancient Greece – written around 1st century AD! 

The Composer and The Music

In 1823, the novelist Stendhal wrote about Rossini, “Napoleon is dead, but a new conqueror has already shown himself to the world; and from Moscow to Naples, from London to Vienna, from Paris to Calcutta, his name is constantly on every tongue.” 

Gioachino Rossini was an Italian composer born in 1792. Over his twenty year career, he composed 39 operas including The Barber of Seville (Il barbiere di Siviglia) and William Tell (Guillaume Tell). 

According to librettist Jacopo Ferretti, La Cenerentola was conceived when he met with Rossini one evening to discuss the subject for a new opera, commissioned by the Teatro Valle in Rome. After having over two dozen proposed subjects rejected, with Rossini half-asleep on the sofa, Ferretti finally suggested La Cenerentola. After Rossini finally agreed, Ferretti immediately went home to work on the libretto, completing it in twenty-two days. Rossini completed the score in an equally impressive twenty-four days. 

The Key Players 

Angelina / Cenerentola (ahn-jeh-LEE-nah / cheh-neh-REHN-toh-lah) – Our heroine, a kindhearted young woman who lives as a servant in her stepfather’s (The Baron of Montefiascone) house after her mother passed away.  

Don Ramiro (don rah-MEE-roh) – Our Prince Charming, son of the ailing King, who is looking for a bride to love him for more than just his crown.  

Don Magnifico (don ma-NYEE-fee-koh) – Baron of Montefiascone, Cenerentola’s stepfather and a rather nasty fellow. 

Dandini (dahn-DEE-nee) – Don Ramiro’s personal butler. He thinks the grass is greener on the royal side of the fence, but learns that might not be so when he is asked to impersonate the Prince. 

Alidoro (ah-lee-DOH-roh) – The Prince’s tutor and most trusted advisor in the search for the ideal wife.  

Clorinda (cloh-REEN-dah) – Don Magnifico’s elder daughter and Cenerentola’s stepsister. Proof that money doesn’t buy taste, or manners. 

Tisbe (TEES-beh) – Don Magnifico’s younger daughter and Cenerentola’s stepsister. Proof that all that glitters isn’t gold.  

Musical moments to look out for… 

La Cenerentola contains stunning examples of the bel canto style. Here are some of the most well-known pieces you should keep an ear out for! 

“Miei rampolli femminini ” Don Magnifico 

“Un soave non so che” Angelina & Don Ramiro 

It’s love at first sight in Don Ramiro and Angelina’s heartfelt duet, Un soave non so che (“a sweet, a nameless charm”). The orchestration expresses the delicate balance between surprise and sudden affection, as the two are captivated by emotions that are new and unfamiliar. 

“Questo e un nodo avviluppato” Angelina, Don Ramiro, Dandini, Don Magnifico, Tisbe, Clorinda

The Story

🚨 SPOILER WARNING! 

ACT 1 

We open on Angelina (Cenerentola), who is forced to work as a servant in her stepfather, Don Magnifico’s, dilapidated home. While she waits on her spoiled stepsisters, Clorinda and Tisbe, Angelina sings about the story of a king who chose a poor bride for her virtuosity. (“Una volta c’era un rè”) 

A beggar arrives on their doorstep – Alidoro, the Prince’s tutor, in disguise. While the stepsisters, disgusted, insist on sending him away, Angelina secretly brings him food. Suddenly, the Prince’s entourage appear to announce that Prince Ramiro is arriving soon and will be holding a ball to find a bride. Don Magnifico sees dollar signs as he thinks about one of his daughters marrying a prince. 

While Don Magnifico and his daughters prepare themselves for Prince Ramiro’s arrival, the Prince’s valet enters. Unbeknown to the household, the valet is actually Ramiro in disguise, hoping to see the true colours of his potential brides. Alidoro had told him there is a maiden living in Don Magnifico’s home worthy of being a princess. When Angelina enters, it is love at first sight (Duet: “Un soave non-so che”). He asks who she is, but she panics and runs off. 

Ramiro’s actual valet, Dandini arrives dressed as the Prince. Don Magnifico, Clorinda and Tisbe make fools of themselves fawning over this prince, who invites them to the ball. Angelina begs her stepfather to attend but he, predictably, refuses her (Quintet: “Signor, una parola”). Ramiro notes her family’s cruelty. Alidoro, no longer in disguise, returns with knowledge about a third daughter in the household. Don Magnifico lies, saying she has died and threatens Angelina with death if she speaks out. Once everyone departs, Alidoro assures Angelina that she will go to the ball and be rewarded for her kindness (“Là del ciel nell’arcano profondo”). 

Dandini and Ramiro return to the Palace, confused by the stepsisters – neither of these women are the beautiful, kind soul Alidoro talked about? When Clorinda and Tisbe arrive, Dandini offers Ramiro (still dressed as a valet) as a consolation prize to whoever he does not marry. They’re disgusted at the idea of marrying below them. Alidoro arrives with a mysterious woman who looks suspiciously like Angelina. 

ACT 2 

Magnifico laments the threat this new potential bride poses (“Sia qualunque delle figlie”). Meanwhile, Dandini has started to follow Angelina like a lovesick puppy. She rejects the “prince’s” advances by declaring her love for his valet. Overhearing this, Ramiro steps forwards to claim his bride. They’ve found each other! Happily ever after, right? Not quite… 

Angelina, scared that he won’t want her after he discovers her true identity, informs him she is going home and if he truly loves her, he will find her. He lets her leave, with a newfound determination to marry her (“Sì, ritrovarla io giuro”). 

Magnifico confronts “the prince”, insisting he must decide which of the stepsisters will be his bride. Dandini tries to maintain the charade but eventually, reveals the truth (Duet: “Un segreto d’importanza”). 

A furious Magnifico returns home with his daughters as a thunderstorm begins. In an effort to play Cupid, Alidoro organises for Ramiro’s carriage to stop outside Magnifico’s home. Ramiro and Angelina immediately recognise each other while 

Angered by their cruelty towards his true love, Ramiro threatens Magnifico, Clorinda and Tisbe. Angelina, with her pure heart, urges Ramiro to forgive her family for their actions. Ramiro and Angelina marry and, of course, live happily ever after… 

Also see…

Rossini’s other operas

Rossini composed 37 operas over his lifetime so you have plenty to choose from! Well-loved favourites are The Barber of Seville (1886) and William Tell (1829). 

Ever After (1998)

This iconic 1998 film starring Drew Barrymore contains all you could want from a Cinderella story – a swoon-worthy prince, Leonardo Da Vinci as the fairy godmother, and anti-establishmentarianism. Note the lack of magic and mice, just like La Cenerentola!

Hilary Duff’s iconic ‘A Cinderella Story’ monologue

As Hilary says in 2004 cinematic masterpiece…