Where's the glass slipper?

Are you a little puzzled as to why the Prince (Pictured: Keith Boyer | photo: Ron Lindsey) in the picture is examining a bracelet instead of a glass slipper? It is fair to wonder why. Ones perception of the Cinderella story can be challenged by an adaptation such as La Cenerentola. By and large, our American understanding of the fairy tale is often influenced by adaptations derived from two tellings: Jakob & Wilhelm Grimm’s Aschenputtel (1815) and Charles Perrault’s Cendrillon (1697). The former largely influenced Stephen Sondheim’s Into the Woods, while elements of the latter influenced Rodgers & Hammerstein, Walt Disney and Jules Massenet…and Perrault applies to Rossini as well.

Jacopo Ferretti’s libretto, for all of its quirks, has a general framework with the archetypes and symbolism in the Perrault (glass slipper, fairy-godmother, wicked step-parent). There has also been strong suggestion that Ferretti borrowed several characters (or at least an Italianization of their names) straight out of the earlier opera Cendrillon by Maltese composer Nicolas Isouard which debuted a mere seven years before Cenerentola. Nonetheless, the changes are worth a look.

Glass Slipper to Bracelet

Cinderella had lost some kind of footwear long before Perrault added the “glass” detail to the slipper. Rossini’s version replaces the slipper with two matching bracelets. When the opera premiered in Paris, some critics rudely suggested that the bracelet replaced the slipper because the original Roman Cenerentola—contralto Geltrude Righetti—had ugly feet. Signora Righetti fired back at these detractors, explaining that the bracelet was an exercise in good taste, since in Rome, the sight of a woman’s bare foot was considered indecent. “Signor Parisian Journalist,” she added, “should not think that I say this to defend my feet: he does not know me, and if he did, he might say that I have more to gain by adopting the original slipper than by clinging to the bracelet.” Though the bracelet has remained a unique quality of the Italianate Cinderella, it is worth noting that some G. Schirmer editions of the opera include an alternate recitative (in English only) that provides an ending with the glass slipper.

Fairy-godmother to Old Philosopher

The Alidoro figure was previously seen in Isouard’s Cendrillon. The character’s resurgence in Cenerentola might point to Rossini’s larger, overarching decision for the opera itself. Constrained by physical limitations in Italian theatres of the day, Rossini knew that this piece could not be a magical spectacle with an enchanted pumpkin-turned-carriage or helpful rodent-friends of the heroine. The presence of a philosopher fills the role of not only a friend to Cenerentola, but also the Prince’s tutor. Rossini also managed to depart from Isouard’s Alidor, who was far more magical, using an enchanted rose to transform Cendrillon for the ball. Nonetheless, it bears mentioning that Alidoro does have a slight measure of “magic” about him, given that he uses the art of disguise, appearing as an old beggar in order to elicit a response from the three daughters in Don Magnifico’s house.

Role Reversals

A common thread through almost all versions of Cinderella is role reversal: the poor girl becomes a princess, the wicked relatives are undone, etc. The Ferretti libretto adds even more role reversals. Usually, Cinderella only meets the prince after being magically transported to the castle, but in this version, the Prince actively seeks out Cinderella at the outset of the drama. In doing this, Ramiro and his valet embark on yet another role reversal by having Dandini swap clothing with him in order to do some important reconnaissance on the daughters in the Don Magnifico household. Possibly the most striking role reversal occurs at the ball. Cenerentola approaches the Prince, gives one of the bracelets to him and promises that if he really cares about her, he shall find her.

These changes are but a few made by Rossini and Ferretti. Composer and librettist certainly give the new listener a fair amount to chew on, and why not? Themes, archetypes and symbols have been visited and revisited often in literature and film. Why should Opera be any different? Composer and librettist have managed to provide the inevitable “happy ending” just as in other adaptations, but by a decidedly unique journey.

—Phil Touchette

La Cenerentola opens Friday, July 29 and will run for three more performances on July 30, Aug 6 & 7(M). Performances begin 8pm, except for 3pm Matinee on August 7. Production sung in Italian with projected English supertitles. Venue: Union Avenue Christian Church; 733 N. Union Blvd, St. Louis, 63108.

Tickets range $30-52. Children's General Admission Tickets (ages 12 and under) are available for $15. Student Rush Tickets are $15 with valid Student ID (cash only) for any remaining seats available 15 minutes before curtain. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/