Following on from Massenet’s dreamlike, ambiguous Cendrillon I took a look at a fairly recent recording of Rossini’s much more straightforward, if somewhat moralising, opera buffa on the same theme La Cenerentola. There’s no magic here. The fairy godmother is replaced by the prince’s tutor Alidoro who engineers Angelina’s trip to the ball. There’s no stepmother either but rather a stepfather and it’s unclear what has happened to either of the mothers one imagines must have been involved.
Catalan collective Els Comediants’ production of Rossini’s The Barber of Seville is back at the COC in a revival of the 2015 production. Five years ago I described it as a “glorious romp” and, based on yesterday’s performance, I see non need to amend that judgement. It may be even better this time. It still has Joan Guillén’s wonderfully colourful and silly costumes and sets and it still has Joan Font’s inspired directing; perhaps even crisper this time. Once again it has a wonderful cast of international and Canadian singers including a reprise of Bartolo by the admirable Renato Girolami.
No opera says Glyndebourne like Mozart’s Le Nozze di Figaro. It opened the first season in 1934 and inaugurated the new theatre in 1994. Michael Grandage’s production which opened in 2012 was, I think, Glyndebourne’s fifth. In any event it’s a fairly traditional affair though with the setting updated to the 1960s (though still set in a palace in Seville and I’ve got a nagging feeling that late Franco era Spain didn’t have much in common with the Haight and Carnaby Street but there you go). The updated setting does allow for some visual gags with ridiculous 1960s dance moves but otherwise it could pretty much be anywhere, anytime. There’s no concept and Grandage’s focus is on the interactions between the characters and the way they can be expressed in a relatively intimate house.