Rating: 
Summary: Beautiful!
Review: This performance of LA CENERENTOLA was taped at Houston Grand Opera in 1995. The performances marked Cecilia Bartoli's American debut, and as Angelina she completely justified all the "hype" that surrounded her at that time. She sings beautifully and acts nicely, creating a put-upon yet spunky "Cinderella." Opposite Bartoli, Raul Gimenez gives a sincere and sensationally sung Prince Ramiro. His love duet with Bartoli in Act I ("Un soave non so che") is an oasis of calm in a witty Rossinian fairy tale. The supporting cast includes Enzo Dara (Don Magnifico), Alessandro Corbelli (Dandini), and Michele Pertusi (Alidoro, the "fairy godfather"). Corbelli's Dandini has since become famous (a British critic called it one of the finest operatic characterizations of our day), and here one can see why: it is subtle, humorous, and richly sung. (Corbelli was also Dandini in 1997 Metropolitan Opera performances, one of which was telecast in 1998. His Met portrayal was very different but every bit as masterful; it's too bad that telecast is not yet commercially available.) Dara, who sings the stepfather, Magnifico, looks like Ed Wynn (of MARY POPPINS and "I Love to Laugh" fame). Although Dara's acting is very funny, he is clearly past his vocal prime -- in fact, I think I'd rather hear Ed Wynn sing the role. Young bass Pertusi, however, provides plenty of vocal freshness in his lengthy, wonderful aria, "La del ciel." The production is one of the most beautiful I have ever seen of an opera; the sets and costumes look like fanciful children's book illustrations. This is a marvelous performance that one can watch again and again -- as I certainly have!
Rating: 
Summary: Great performances, flawed production
Review: Though I have some reservations about the production, there are such great performances on this video that I have given it four stars and recommend it. For instance, you can enjoy the talents of Cecilia Bartoli, here making her American debut, who gives a spirited and vocally dazzling performance of the heroine. Then there is the dashing Rossinian tenor Raul Gimenez, who lends impeccable elegance and vocal polish to the role of Don Ramiro. I'm sorry for the cursory way that I've treated the two leads, but I would really like to concentrate on the two buffo roles of Don Magnifico and Dandini, played by Enzo Dara and Alessandro Corbelli. Dara is a veteran Italian basso buffo who, as another revewer pointed out, bears a striking resemblence to Ed Wynn. His voice was clearly past its prime at the time of this performance and is quite weak, though his stage manner is as funny as ever. He is very endearing, but I'm not sure he adequately emphasizes the character's menacing qualities. However, his rapid delivery of the patter in his third aria (while throwing cards) is unbelievable! As the prince-for-a-day valet Dandini, Corbelli shows why he has become famous in this role: his performance is both superbly sung and hilariously acted. Just watch his aria: this is clearly a great comedian as well as a great singer! Corbelli is a fine artist, no doubt about it. Finally, there is Michele Pertusi as Alidoro, who sings excellently but is hampered by the production's stodgy conception of the role.As for the physical production, I find it less apt than the recent Metropolitan Opera production (telecast on PBS but not yet available commercially). The Met production was true to the surreal, zany spirit of Rossini. This prettified Houston production looks like a cross between a Disney fantasy and a French Roccoco painting. The result is that Rossini's urbane, witty, realistic comedy looks too much like what he didn't intend it to be - a fairy tale. It's a beautiful, magical production, mind you - but it isn't very Rossinian. The Met production is not flawless by any means, but it is more true to Rossini's world. Consider for example how the two versions stage the famous sextet: in the Met version the participants actually get tangled in a long piece of string (as the text says); in Houston they just sit there and sing. But this production has so many wonderful performances going for it, that any opera lover should buy it. LA CENERENTOLA is a one-of-a-kind evening's entertainment, no matter what the sets and costumes and staging look like. But please look out for that Met production, which also has Bartoli, Corbelli, and Pertusi.
Rating:
Summary: Forget Disney
Review: While this production looks (potentially) magical, there's no magic in the plot, just the singing. Get Disney's take out of your head and everything starts making sense. This is Bartoli's signature role (note the book "Cinderella & Company") and she enjoys her feisty take on the girl. An excellent light entertainment for anyone who enjoys opera or the musical theater.
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