Saturday afternoon, for the performance of La Cenerentola, with the cast varied in the main roles, the large hall of the Carlo Felice was packed with many children and teenagers from many schools; only the first rows of the stalls were partially empty. Compared to what was reported by my colleague Barbara Catellani (read review), with reference to the first performance, things went better for us: at least the director didn’t have to call the audience’s attention before being able to give the initial attack. It must be said that seeing the theater full of young people is a great joy and gives us hope that something has been attached to some of them.

With regard to directing, we refer to the review of those who preceded us, adding the scene of the First Final with Don Magnifico among barrels of various sizes and decidedly excited party guests. We agree on the inappropriateness, especially in some moments and for some characters, of disco-style dances: in the final scene Don Ramiro who was agitated like any pirletta was really unwatchable.
From a musical point of view we have seen an excellent performance.

Richard Minas impressed us positively since Symphony direct with personality, showing off a great variety of accents and very wide dynamics. In the continuation of the performance, the Roman Maestro confirmed his excellent talent by obtaining from the orchestra adequate volumes to never overwhelm the voices on stage. We also thought the synchronicity between the pit and the singers was good, apart from a couple of occasions whose very brief disconnects were promptly resolved. Overall, an excellent level management well supported by theCarlo Felice Theater Orchestra protagonist of a level test. Equally positive was the contribution given to the recitatives accompanied by Sirio Restani.

Laura Verrecchia outlines a vocally amazing and scenically impeccable Cinderella. The amber color of her centers allows her to remarkably underline the melancholy moments present in her part, in sharp contrast with the brightness that her timbre acquires as it rises towards the high and perfect register to represent joy, amorous outbursts and passion. Her excellent technique allows her to keep her voice always well projected, obtain a considerable volume when necessary and shell her agility with precision. The concluding aria “Nacqui all’affanno” with the subsequent cabaletta “Non più mesta” are an authentic sample of bravura crowning a remarkable performance.

Of equal level the Don Magnifico of John Romeo, performing vocally, technically confident and scenically entertaining. The Milanese bass-baritone is already to be considered among the essential reference points of the buffo repertoire by virtue of an important and well-organized vocality, qualities that go hand in hand with gestures, postures and attitudes that refer to the tradition of the great school buffo Italian. Excellent use of falsetto during the aria “Sia any of the daughters” as well as the precise spelling.

Bravo too Paul Ruiz in the role of Dandini. The expert Spanish baritone stood out for his solid vocals alongside a breezy actor: qualities that allowed him to perform well in the role of the prince’s valet.

David Monaco he is a young tenor who began to distinguish himself very young in various singing competitions; at the time he was comparable to a rough diamond that needed to be worked on with the help of expert hands. Not yet twenty he had given us the impression of a vocal quality that could have matured towards the pure operatic repertoire: at twenty-six we find him instead in the difficult role of Don Ramiro. In fact, the beauty of the timbre, the emission free from forcing, the excellent agility and an acute and super high register of extraordinary beauty prove the goodness of the work done. However, we found the central area of ​​the voice a little feeble and in any case lacking the focus necessary to make the recitatives incisive and to give the right emphasis to all the Prince’s interventions; for these reasons the first act slipped away without the tenor being able to stand out in particular. On the other hand, those present jumped into their seats when in the second act they met with beautiful phrasing and the right accents “Yes, I swear to find it again” but above all during the real fireworks launched during the following cabaletta (with variations up to D natural ).

Matthew D’Apolito with correct singing, adequate voice and the technical security that allows him to more successfully overcome the pitfalls of the difficult aria “Là del ciel nell’arcano profound” with cabaletta, he gives life to an Alidoro endowed with the necessary allure and personality which suits this fundamental figure in the economy of the work.

The two stepsisters, scenically very good and close-knit, saw in the Thisbe of Carlotta Vicchi a well-timbred mezzo-soprano voice, always audible even in concertatos and musically precise. A little weaker from a vocal and technical point of view is Clorinda played by Giorgia Rotolo however the protagonist of a more than sufficient test.

Excellent proof of Choir of the Opera Carlo Felice well prepared by Claudius Marino Moretti.

At the end of the recital, the artists’ exits were greeted by the contagious enthusiasm of the school groups present who gave the protagonist an enormous ovation.

The review refers to the performance of December 3, 2022.

Daniel Boaretto