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La Cenerentola Puts Twist on
Classic Tale
By Crystal Stohr
There aren�t many mediums where a punch line can be repeated and still
be as funny as the first time around. Opera is one of them, especially
in

(photo by Claire-Helene Merson)
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the case of Gioacchino Rossini�s comic
masterpiece La Cenerentola. Not only is it a pleasant, light-hearted
fare in the best of Italian opera tradition, but it serves as a virtuosic
vehicle for its stars. And Oberlin�s finest did not disappoint.
Written in 1817, La Cenerentola was written a year after another one
of Rossini�s immensely popular comedies Il Bariere di Siviglia (The
Barber of Seville). The plot of the opera is essentially the beloved
Cinderella story, with a few minor modifications. The two step-sisters
are alive and well, and as smug and self-admiring as ever. But instead
of a mother, they have a social-climbing baron of a father, and instead
of a fairy godmother coming to her rescue, Cenerentola has a kindly
father-figure, an advisor to the prince. All of these roles were well-sung,
and even better-acted. As the show opens, junior Ellie Dehn and sophomore
Vera Savage primped and preened the audience into laughter. And when
first-year Liora Grodnikaite finally opened her mouth for her first
aria as la cenerentola, the audience quickly quieted and fell under
the spell of her lush, full and lyrical voice.
Everyone in the opening night�s cast was strong, including the hilariously-staged
male chorus who served as courtiers to the prince. However, the show-stealers
were senior Kevin Moreno as Magnifico, the step-father, and senior Jonathan
Stinson as Dandini, the prince�s valet. Too many times a perfectly good
comic opera becomes nearly ruined by badly over-done prat comedy, bordering
on slap-stick. Not so in this opera. Both Moreno and Stinson knew when
to ham it up and when to just stand up and sing, which they both did
with bravado.
Behind every good opera is a foundation, including music direction,
stage direction and last but not least, a good orchestra. All three
were pretty much dead on. The orchestra got a bit excited at times,
which is fine for instrumentalists, but not so comfortable for singers
trying to keep up with running 16th notes. There were no major mistakes
and very few noticeable minor ones, which made for more-than-decent
opening night. The staging really supported the inherent comedy of the
opera. Jonathan Field, veteran opera director, did a superb job of creative
blocking, movement direction, and acting direction. The result was a
tight, funny and well-performed show that looked as much fun to act
as it was a pleasure to watch.
This Oberlin opera is one that should leave audience members eagerly
anticipating the chance to see it again. Friday, cast number two takes
the stage with an equally-compelling list of players. Lush-voiced senior
Laurie Rubin is Cenerentola, accompanied by juniors Libby Floyd and
Melanie Besner as her step-sisters, senior Peter Tantsits as the prince
and junior Frederick Jackson as Dandini.

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La
Cenerentola Puts Twist on Classic Tale
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