Production seeks to deprive an opera of traditional idea as opera - a magic fairy tale in buffo but to give to it idea of an opera - drama where People do not accept the Person only because he not such as all. In the first part there is not enough joke, buffonade. The lyric drama predominate in the first part (up to aria d’Alidoro Vasto teatro e il mondo): detachment of Cenerentola from the others, her loneliness, including in the attitude to Don Ramiro is emphasized.
Don Ramiro, Dandini, Don Magnifico, Clorinda, Tisbe, Angelina are clockwork mechanical puppets in Il Teatro magico del Maestro Alidoro, where Alidoro is the puppetmaker and puppeteer, Cortigiani del Principe are his assistants and all action - no more than representation where all is subject to will of the Puppet Maestro. ALL THIS IS METAPHYSICAL REFLECTION OF HUMAN COMMUNITY WHERE PEOPLE LIVE AS MECHANICAL PUPPETS AND REJECT THOSE WHO LIVES ON ANOTHER.
With the beginning of Sinfonia opens decorative curtain. On stage - Alidoro which twists a wheel as though opened curtain. Cortigiani represent puppets: brilliant Don Magnifico, identical puppets Don Ramiro and Dandini as brothers (anywhere, down to Duetto Un segreto d’inportanza there should not be no hint, that Dandini is a valet and Don Ramiro is a master), identical puppets Clorinda, Tisbe, Angelina as sisters. Alidoro wind up puppets they slowly start to move, gradually their movements everyone become more natural, except for Angelina. This puppet does not work. Cortigiani put aside a puppet. Angelina the voice works unexpectedly, all over again only, then starts to move. In the first scene she very ungaintly: moves roughly, all drops, stumble etc. Therefore her correct puppets Don Magnifico and the sister do not recognize. During aria Vasto teatro e il mondo Alidoro and his assistants correct puppet Angelina and represent her on ballo as the surprise; meanwhile Angelina already ceases to operate as a puppet and becomes as alive. Everyone speak: she is as Cenerentola but not as Cenerentola. Alidoro appears at those moments when it is necessary to change something in action, always unexpectedly.
| Copyrights & Usage | Nikita Kryguine