Metropolitan Opera Preview: La Cenerentola

Joyce Di Donato's dreams come true in Rossini's fairy tale.
by Paul J. Pelkonen

This hasn't actually happened onstage yet. Juan Diego Flórez (left) and Javier Camarena (right)
will both woo Joyce DiDonato (center) in the Met's La Cenerentola (background.)
All photographic elements s by Ken Howard and Marty Sohl © 2014 The Metropolitan Opera. 
All photo editing by the author.

The last production to premiere at the Metropolitan Opera this season also has one of the most appealing casts. Joyce DiDonato's Cinderella will be wooed by not one but two charming tenor Princes.

One-Two Princes Here Before You

Javier Cammarena will sing in La Cenerentola.
by Paul J. Pelkonen

This hasn't actually happened onstage yet. Juan Diego Flórez (left) and Javier Camarena (right)
will both woo Joyce DiDonato (center) in the Met's La Cenerentola (background.)
All photographic elements s by Ken Howard and Marty Sohl © 2014 The Metropolitan Opera. 
All photo editing by the author.

In a story that broke late Thursday afternoon, the Metropolitan Opera announced that star mezzo-soprano Joyce DiDonato will split her attentions between two bel canto tenors in the company's forthcoming revival of Rossini's La Cenerentola.

Opera Review: Purple Reign

Pretty Yende rocks Le Comte Ory.
by Paul J. Pelkonen

Pretty Yende (center) stars with Juan Diego Flórez (with beard) in Rossini's Le Comte Ory.
Photo by Marty Sohl © 2013 The Metropolitan Opera. 

The Metropolitan Opera season is a marathon. As such, there are always has cancellations due to injury, illness or personal and music differences. So when the company announced that the untried South African soprano Pretty Yende would be stepping in for Nino Machaidze as Countess Adele in all performances of the company's revival of Rossini's Le Comte Ory, audience members held their breath.

Metropolitan Opera Preview: Le Comte Ory

Juan Diego Flórez gets back in the habit.
by Paul J. Pelkonen

Habit forming: Juan Diego Flórez returns in the title role of Le Comte Ory.
Photo by Marty Sohl © 2011 The Metropolitan Opera.

Opinions were divided regarding the first run of Bartlett Sher's production of Rossini's Le Comte Ory, a madcap staging that imported 19th century production values to the hi-tech stage of the Met. This reprise features the welcome return of Juan Diego Flórez in the title role. This bel canto tenor's handsome appearance and vocal agility remind some opera-lovers of the early career of Luciano Pavarotti.

Opera Review: Days of Wine and Voices

Juan Diego Flórez and Diana Damrau in L'Elisir d'Amore.

by Paul Pelkonen

Back off: she's got an umbrella. Diana Damrau fends off Juan Diego Flórez in L'Elisir d'Amore.
Photo © 2012 The Metropolitan Opera.

During his tenure, Metropolitan Opera general manager Peter Gelb has made it his mission to phase out old productions of standard repertory operas. So Monday night marked the opening of the last run for John Copley's charming 1991 L'Elisir d'Amore. This popular production uses cardboard cutouts, wooden acting surfaces, bright Italian pastels, tri-color flags and a deliberate theatrical artifice to make the giant Met stage ideal for Donizetti's rural comedy.

Opera Review: Have More Fun in Bed

Le Comte Ory at the Metropolitan Opera.
by Paul Pelkonen

Diana Damrau, Joyce DiDonato and Juan Diego Flórez get cozy in Le Comte Ory.
Photo by Marty Sohl © 2011 The Metropolitan Opera.

The Metropolitan Opera's bel canto franchise rolls on with Tuesday night's performance of Le Comte Ory, Rossini's final comic opera. Written in 1827, Ory is a comic soufflée, a Rossini rarity that has never graced the Met's stage before this season. The opera features third reunion of tenor Juan Diego Flórez and soprano Diana Damrau. This winning combination was enhanced by the addition of mezzo Joyce DiDonato in a trouser role.

Metropolitan Opera Preview: Le Comte Ory

Juan Diego Flórez makes a welcome return to the Met in the title role of Le Comte Ory.

The Metropolitan Opera continues its trend of reviving Rossini rarities with this staging of Le Comte Ory, the composer's last comic opera. This is the Met's first production of this infrequently heard opera.

Le Comte Ory was written in 1828 for the Paris Opera, right before Rossini's retirement from active opera composition. In some ways it stands alone in the composer's canon of works as a comedy written in French. It tells the story of a nobleman, determined to win the hand of Countess Adèle, through disguise, deception, and more disguises than Bugs Bunny.

At the MetTalks presentation on March 10, director Bartlett Sher explained his concept of the new production. He is taking the work back to its 1828 roots: a wooden stage within the Met's cavernous auditorium. The second act, in the convent, will be staged by candlelight. Yes, you read that right.

The production reunites the team of Juan Diego Flórez and Diana Damrau, the tenor and soprano who wowed audiences with a stunning display of bel canto fireworks in the company's 2008 staging of Donizetti's La fille du Regiment. The opera also features mezzo-soprano Joyce DiDonato in the trouser role of Isolier, the page who is also attempting to woo the Countess.



A video clip of Juan Diego Flórez in Le Comte Ory. The staging is by Bartlett Sher, and is the third collaboration between the Met and the Tony®-award winning director.

Recordings Recommendation
I don't really know this opera. But there are three recordings of Le Comte Ory available. I haven't heard them, so I've included what I could learn about them. They are:

Glyndebourne Festival Orchestra cond. Vittorio Gui (EMI, 1956)
Count Ory: Juan Oncina
Countess Adèle: Sari Barabas
Isolier: Cora Canne-Meuer
A mono recording made at Abbey Road, and based on a staging at the tiny but wonderful Glyndebourne Festival, a gem set in the English countryside. This set was originally released by EMI and can be purchased from Amazon as a download, with each disc forming one MP3 track. Yes, that's a pain, but on the bright side, you get the whole opera for $1.98. Caveat emptor!

Orchestre et Choeur de l'Opera de Lyon cond. John Eliot Gardiner (Philips, 1988)
Count Ory: John Aler
Countess Adèle: Sumi Jo
Isolier: Diana Montague
This was one of John Eliot Gardiner's early opera recordings. The period performance expert accompanies the sparkling soprano of Korean soprano Sumi Jo. This was an award-winning recording and has long been considered an industry standard of this rare opera. Since the entire Philips catalogue was effectively deleted when that label was absorbed into Decca, this set was re-released by ArkivMusic in 2006.

Orchestra del Teatro Comunale di Bologna cond. Jesús López-Cobos (DG, 2004)
Count Ory: Juan Diego Flórez
Countess Adèle: Stefania Bonfadelli
Isolier: Marie-Ange Todorovitch
This recording was made at the Rossini Festival in Pesaro in 2003, and was one of Mr. Flórez' first exposures on the internatonal operatic stage. Featuring Maestro López-Cobos, an experienced Rossini conductor who brings charm and sparkle to this composer's music. The rest of the cast is middling--it is Mr. Flores' presence that is the selling point here.

Opera Review: Fabulously Butch

Fabulously butch: Diane Damrau as Marie

Photo by Mary Altaffer © 2010 Metropolitan Opera.

La Fille du Régiment at the Met

The final La Fille du Régiment of this season was a cause for operatic celebration, bringing together two great generations of singers. In the leading roles, tenor Juan Diego Flórez and soprano Diana Damrau treated listeners to an amazing aural fireworks display. But they were equalled by what may be the final appearance of Dame Kiri Te Kanawa on the Met stage, as the legendary soprano took the comic role of the Duchess of Krakenthorp.

Donizetti's first French opera requires tremendous vocal firepower. The tenor role of Tonio includes a difficult aria ("Ah, mes amis") with eight written high C's. Tenors traditionally sing nine, as Flórez did on Monday night. The Peruvian singer has been a welcome addition to the Met stage in recent years, with his tremendously sexy stage presence, natural acting ability and good comic timing.

 Then there is that voice--nimble, flexible and fearless through the dizzying tenor roles of Rossini, Donizetti and Bellini. He is the most important bel canto voice since Pavarotti. One hopes that he is sensible in the use of his remarkable gift and does not try to push his repertorial choices in the name of greed.


The title character is a bel canto heroine with astonishingly difficult, high-lying music to sing. Diana Damrau's portrayal was more than just a military canary mascot--she played Marie as a full-blooded, complex woman with genuine gender issues brought on by her upbringing as part of a French military regiment. When she came onstage in a dress in the second act, the effect was almost shocking. Damrau handled the rough-and-tumble drawing room comedy with same efficiency with which she washed drawers and peeled potatoes in the first act. Damrau also boasts incredible vocal gifts. Her patriotic arias were stirriing, and her Act II cavatina melted the heart.

Dame Kiri received an enthusiastic welcome as she entered at the start of Act II. The applause grew warmer when the audience realized that the great New Zealand soprano was about to sing. Her choice was the "Canción al árbol del olvido", a lovely 1938 song by Ginastera. Written 100 years after the premiere of this opera, it went surprisingly well with the rollocking Donizetti score. The great diva engaged in some comic business as well, and tossed off a memorable high note as her character rushed offstage at the opera's conclusion.

One more time! Juan Diego Flórez sings "Ah, mes amis" at the Vienna State Opera.