‘La Cenerentola’: A Witty Retelling of ‘Cinderella’

Virtue and kindness win in Rossini's opera "La Cenerentola," in a 1981 performance at La Scala, Rome. (IMDb)

Once upon a time there lived a girl called Angelina. Her wicked stepfather and stepsisters treated her as a servant and called her “Cenerentola” (“Cinderella”). One day, she met a prince. He loved her and she loved him. They married and lived happily ever after.

This is the story of Cinderella or, rather, a witty retelling of the classic fairy tale. “La Cenerentola,” the 1817 opera with a few comedic twists, was composed in less than three weeks by Gioachino Rossini.

Here, there is no evil stepmother, no fairy godmother, no pumpkin, no midnight curfew, and no glass slipper. Instead, there is an evil stepfather, a philosopher, and a bracelet.

A Clever Retelling of ‘Cinderella’

The story follows virtuous Angelina, nicknamed “Cenerentola” by her stepfather Don Magnifico and his two daughters, Clorinda and Tisbe. Forced to be the family servant, Angelina dreams of a brighter future where her kind nature is recognized. One day, a beggar enters Don Magnifico’s house and Cenerentola offers him bread and coffee. He is actually the philosopher Alidoro, Prince Ramiro’s adviser.

Two other characters join the story: Prince Ramiro is disguised as a servant, and Dandini (the prince’s trusted valet) is disguised as the prince. Ramiro is looking for someone to marry and wants to freely observe prospective brides. Angelina and Ramiro fall in love without her knowing his identity.

Cenerentola goes to the ball with the help of Alidoro. The prince falls in love with Angelina, but she tells him that she already loves a valet. When Angelina discovers his true identity, she gives him one of a pair of matching bracelets, declaring that if he really loves her, he will find her.

The story ends with the prince finding Cenerentola when he recognizes her bracelet. All ends well, and Cenerentola rejoices at her happiness.

But this story is much more than a clever fairy tale. It is incredibly funny.

A Witty Score

Essentially, Rossini’s “La Cenerentola” is a comedy. There are all types of comedic elements in these two acts, which are guaranteed to make the audience laugh.

For one, the score is filled with comedic characters. The stepfather’s comedic turn stems from his cluelessness, and the stepsisters are funny through their ignorance of their ridiculous personalities.

The disguises are another comedic element, as the audience is aware of the characters’ true identities. One example is the entrance of the prince in the choir ensemble piece “Come un’ape ne’ giorni d’aprile.” Then, in a falsely gallant aria, Dandini pretends to be infatuated with the two daughters, sending them swooning.

Cinderella's father and stepsisters appreciate Cinderella's kindness in Rossini's opera "La Cenerentola," in a 1981 performance at La Scala, in Rome. (IMDb)

Another highlight is the Act 1 finale, when the prince and servant share notes on the stepsisters in a witty duet, “Zitto, zitto,” which transforms into a quartet when Dandini declares that one of the sisters can marry his valet, much to their disgust. The vivacity and rapidity of this ensemble are pure delight.

Another tongue-in-cheek aspect of this opera is the play on the Italian language, accentuated by Rossini’s music. For example, when Dandini, disguised as Ramiro, explains the reason for his visit, he ends every sentence with “ato.” This repetition pokes fun at his pretended pomposity and the stepfamily’s gullibility.

This humor is further accentuated when the stepfather declares that Dandini is very eloquent. The sextet in Act 2, “Siete voi?” is another example of this, with a delightful play on the rolled consonant “r.”

Beyond the laughs, “La Cenerentola” contains a brilliant score.

Goodness Triumphant

The other title of “La Cenerentola” is “La bontà in trionfo” (“Goodness Triumphant”). Instead of a fairy godmother who helps Cinderella, Rossini replaces magic with real-life characters and shows how virtue, kindness, forgiveness, and true love win.

Throughout Rossini’s music and Jacopo Ferretti’s libretto, the comedic characters typical of the opera-buffa style (comic opera) perform with dramatic realism. It is a tragi-comedy where pathos, sentiment, and mystery combine to form one of Rossini’s most sublime works.

One example of this dramatic tension is in Act 2: When the prince goes to Angelina’s home, he is accompanied by thunder and an energetic ensemble. The score can also transmit joy, as the arias and ensembles are filled with puns and witticisms.

Rossini uses the bel canto opera style, in which vocal virtuosity is a must, with extensive use of coloratura (fast notes) and ornamentation. Here, singers are required to maintain a beautiful sound while singing effortlessly through fast high notes. Bel canto here transmits silliness in the case of Don Magnifico, or excitement in the case of Angelina. In her famous final aria, “Non più mesta,” her coloratura runs signify the triumph of goodness over mediocrity.

“La Cenerentola” is a timeless score, filled with comedy as well as great depth and compassion. It leaves the audience with a joyful, happy ending.