Applicable to Sundays only
Composer | Gioachino Rossini
Librettist | Jacopo Ferretti
Orchestra | Bournemouth Symphony Orchestra
June | 25, 28, 30 July | 3, 7
Just as Rossini did, we follow The Barber of Seville with Cinderella (prompted, it must be admitted, by overwhelming demand from our successful 2018 Barber team). Who could resist such Rossinian luminaries? Josè Maria Lo Monaco returns in the title role, Stephen Barlow directs and David Parry conducts. This is for many their favourite Rossini opera.
We are proud to present a brilliant international cast in this much loved dramma giocoso which fizzes with comic brilliance: Nico Darmanin as Don Ramiro, Christian Senn as Dandini and Simone Alberghini as Don Magnifico.
Stephen was born and educated in Melbourne, Australia and has staged productions for many of the world’s leading opera companies including the Royal Opera House, Covent Garden, The Metropolitan Opera, New York, Lyric Opera of Chicago, the Glyndebourne Festival and Opéra de Monte Carlo.
His recent work as a Director includes a new production of The Phantom of the Opera Folketeateret (Oslo), Roméo et Juliette Estonian National Opera, Il Barbiere di Siviglia (The Grange Festival), Flight Scottish Opera, Così Fan Tutte Central City Opera, Colorado, Madama Butterfly Danish National Opera, Suor Angelica & Gianni Schicchi Hong Kong, Rigoletto Lyric Opera Chicago & Bucharest National Opera, Tosca Santa Fe Opera, La Rondine Metropolitan Opera, New York and Théâtre du Capitole, Toulouse, Carmen Opera Theatre of Saint Louis and Les Deux Enfants – a unique coupling of two French operas: Debussy’s L’enfant prodique and Ravel’s L’enfant et les sortilèges Brisbane Conservatorium, Australia.
Stephen has had a longstanding relationship with London’s Opera Holland Park where he has staged La bohème, Flight, Tosca, Hänsel und Gretel, Don Giovanni, Don Pasquale, La Fanciulla del West, Cavalleria Rusticana & I Pagliacci, and the European premiere of Fantastic Mr Fox. Stephen will be returning to Opera Holland Park for the 2021 season.
Other productions include La Cour de Célimène Wexford Festival, Madama Butterfly Mid-Wales Opera, La bohème British Youth Opera, La Traviata Singapore Lyric Opera, Dovetales Glyndebourne Jerwood Studio, Alfonso und Estrella University College Opera, Die Zauberflöte Royal Academy of Music in London and Trial by Jury Covent Garden Festival.
Stephen is also a regular director at London’s Guildhall School of Music and Drama where he has staged Dialogues des Carmélites, L’enfant Prodigue, Francesca di Foix, Le Donne Curiose, La Navarraise, Portrait de Manon, Comedy on the Bridge and most recently Haydn’s La Fedeltà Premiata.
Opera Credits Include: Madame Favart (Opera Comique); Il barbiere di Siviglia (The Grange Festival & Santa Fe Opera 2020); Così fan tutte (Central City Opera); La bohème (Opera Holland Park).
Theatre Credits Include: A Flea in Her Ear (La Comédie-Française); Amélie; Fack Ju Göhte (Werk7, Munich, Stage Entertainment); Hogarth’s Progress (Rose Theatre, Kingston); Tartuffe (Theatre Royal Haymarket); Après La Pluie (Théâtre du Vieux-Colombier, Comédie-Française, Paris); Dry Powder; Labyrinth; Donny’s Brain (Hampstead Theatre); The Comedy Of Errors; Pericles; Twelfth Night; The Taming Of The Shrew; The Merchant Of Venice (Shakespeare’s Globe on Tour); Romeo and Juliet (Shakespeare’s Globe & World Tour); As You Like It and Much Ado About Nothing (Shakespeare’s Globe); Impossible (West End & International Tour); Les Parents Terribles (Donmar Season at Trafalgar Studios); Backbeat (West End, Toronto & Los Angeles); Jesus Christ Superstar (Madrid & European Tour).
Josè Maria Lo Monaco Mezzo-soprano
Lo Monaco graduated with a degree in piano at the Conservatory Vincenzo Bellini in Catania and singing with Bianca Maria Casoni in Milan. In 2005 she made her debut at the Rossini Opera Festival, Pesaro, as Marchesa Melibea (Il viaggio a Reims) and at La Scala, Milan, in Rossini’s Petite Messe solennelle. More recent appearances include Isolier (Le Comte Ory) for La Scala, Milan, Carmen for Opera Australia and Opéra de Lyon, Ruggiero (Alcina) for Teatro Real, Madrid, Giulietta (Les Contes d’Hoffmann) for Teatro di San Carlo, Naples, Lola (Cavalleria Rusticana) for La Monnaie, Brussels, Angelina (La Cenerentola) in Santiago, Toulon, Rennes, Rome, Bilbao, Florence, Timante (Demofoonte) for Opéra Garnier, Paris, and Salzburg Festival, Adalgisa (Norma) for Opéra Royal de Wallonie, Charlotte (Werther) in Bologna, Rosina (Il barbiere di Siviglia) for The Grange Festival, Cherubino (Le nozze di Figaro) and Dorabella (Così fan tutte) for La Fenice, Venice , Giovanna Seymour (Anna Bolena) in Catania, Elisabetta (Maria Stuarda) for the Donizetti Festival in Bergamo, Maddalena (Rigoletto) for Aix-en-Provence Festival and Madama La Rose (La gazzetta), Lucilla (La scala di seta) in Pesaro, and Ottavia (L’incoronazione di Poppea) in Florence and Music/Messenger (L’Orfeo) in Lausanne. Lo Monaco has performed a wide range of baroque repertory including operas by Handel and Vivaldi and sacred music, appearing with Europe Galante and Biondi, Ensemble Matheus and Spinosi and La Venexiana and Claudio Cavina, Accademia Bizantina and Ottavio Dantone.
She has also performed under the batons of Riccardo Muti, Evelino Pido, Roberto Abado, Jesus Lopez Cobos, Alan Curtis, Christopher Hogwood, Andrea Marcon and Jordi Savall. She has recorded Monteverdi’s three surviving operas with La Venexiana for Glossa. Future projectcs include: Sesto in Mozart’s Clemenza di Tito, in Nantes, Anger, Rennes; Melibea in Rossini Viaggio a Reims in N.C.P.A Benjin, Vivaldi’s Gloria with Jean Christophe Spinosi in Lyon and Paris, Theater Champs Elysees; Vivaldi’s Dorilla in Tempe, Elmiro in Wexford Festival; Monteverdi’s Incoronazione di Poppea, Ottavia, at the Colon in Buenos Aires and Rosina, Barbiere di Siviglia in Venice, La Fenice.
RECENT & UPCOMING
2018/2019 highlights include Ernesto in Don Pasquale in Cardiff Welsh National Opera, Alberto in La Gazetta (Salzburg Landestheater), Ernesto Don Pasquale (WNO), Gastone, Alfredo La traviata (Glyndebourne on Tour), Raymond Gubbay’s Strauss Gala Tour, Sammut Aħna Refuġjati (Valetta Opera).
Next seasons engagements include Romeo in Romeo and Juliet (Estonian National Opera), Rinuccio in Gianni Schicchi (Innsbruck Opera).
Apparition of a Youth Die Frau ohne Schatten, Danieli Les Vepres Siciliennes (Royal Opera House), Conte Almaviva Il Barbiere di Siviglia (WNO), Opera Holland Park, (Gozo), Don Ramiro La Cenerentola (Scottish Opera, Opera Holland Park), Italian Tenor Rosenkavalier and Don Ottavio Don Giovanni (Opera Vlaanderen), Belfiore in Il Viaggio a Reims Rossini (Opera Festival in Pesaro), Don Ottavio Don Giovanni (Nederlandse Reisopera), Comte Ory (Dorset Opera Festival), Mergy Le Pré aux clercs (Wexford Opera Festival) Massenet’s Thais at the Cadogan Hall.
His concert appearances include Messiah at the Royal Festival Hall, and Beethoven 9th Symphony at the Barbican in London, a recital at the Three Palaces festival in Malta and Washington, Messiah with Nederlandse Reisopera.
Nico represented Malta at the Cardiff Singer of the World competition.
Carolina Lippo graduated in Piano and Singing at the Conservatory Giovanni Battista Martini in Bologna before joining the Young Artist Programme at the Theater an der Wien. In 2018, she won the Semperoper Dresden Debut Prize at the Stella Maris International Vocal Competition.
Her recent and upcoming engagements include Despina Così fan tutte (Nevill Holt Opera), Merab Saul (cover)(Glyndebourne Festival Opera), Lisetta Le Metamorfosi di Pasquale (Pergolesi-Spontini Festival), Adina L’elisir d’amore (Teatro Regio of Torino), and Susanna Le nozze di Figaro (Semperoper Dresden).
Carolina’s engagements at the Theater an der Wien include Merab Saul in a new production by Claus Guth conducted by Laurence Cummings; a new production by Mariame Clément’s of Purcell’s The Fairy Queen conducted by Christophe Rousset; Keith Warner’s production of Gottfried von Einem’s Der Besuch der alten Dame conducted by Michael Boder; Sergej Morozov’s production of Porpora’s Arianna in Nasso conducted by Markellos Chryssicos; Marcos Darbyshire’s production of Don Pasquale conducted by Tscho Theissing; Despina Così fan tutte conducted by Stefan Vladar; Jean Renshaw’s new production of Sallieri’s La scuola de’ gelosi conducted by Stefan Gottfried; and Kay Link’s new production of Handel’s Oreste conducted by Rubén Dubrovsky.
Russian mezzo-soprano Maria Ostroukhova began her international career after winning the Michael Oliver Prize at the London Handel Competition in 2015. Recent engagements include Arsace Ormisda with the London Handel Festival, Bradamante Alcina for the Lammermuir Festival and Ryedale Festival Opera, Albino in Johann Hasse’s I pellegrini al Sepolchro di Nostro Signore, in Moscow’s Tchaikovsky Philharmonic Hall, Ottavia L’incoronazione di Poppea at the Longborough Festival, Dardano Amadigi at the London Handel Festival, Alcina Orlando Furioso with the Moscow Chamber Orchestra conducted by Federico Maria Sardelli and Les Noces with the London Philharmonic Orchestra conducted by Vasily Petrenko.
Concert performances encompass Messiean Harawi¸Verdi’s Requiem, Pergolesi’s Stabat Mater, Janacek’s The Diary of the One Who Disappeared and Mahler’s Symphony #2.
Born into a family of Muscovite musicians, Maria’s formal education include degrees from the Moscow Gnessins’ College of Music as a pianist and accompanist with Anna Arzamanova and Marianna Shalitaeva, graduated magna cum laude, the Tchaikovsky Moscow State Conservatoire as a pianist, harpsichordist, historical piano and basso continuo with Yuri Martynov and Alexandra Koreneva and recently graduated from the Royal College of Music, London, with a Master of Vocal Performance and a Graduate Diploma in Vocal Performance, both with distinction.
Roberto Lorenzi is a graduate of the “Luigi Boccherini” Institute of Musical Studies in Lucca, Italy. He won the First Prize in the AsLiCo’s Competition and took part at Young Singers Project at the Salzburg Festival and the Opernhaus Zürich International Opera Studio graduating in 2015. In these years he performed: I Capuleti e i Montecchi (F. Luisi conducting; DVD for Accentus), Médée by Charpentier (W. Christie conducting), Otello, Orlando Paladino, Il matrimonio segreto, La Straniera, La Cenerentola, Il Viaggio a Reims, Le Comte Ory, Carmen and La Clemenza di Tito (O. Dantone conducting).
Lorenzi made his La Scala debut in Franco Zeffirelli’s production of La Bohème, under the baton of Daniele Rustioni. Elsewhere he appeared in Tosca, Le nozze di Figaro, Don Giovanni (title role) in Lucca; Alidoro in La Cenerentola in Tuscany and Lille; Ferrando in Il Trovatore for AsLiCo circuit; Der fliegende Holländer in Rome, Bologna, Turin; Don Giovanni in Tel Aviv; Rossini’s Petite Messe Solennelle in Pesaro; La Straniera in Amsterdam; I Puritani in Palermo; La Cenerentola (Alidoro) in Martigny, Lecce and on tour; Il Viaggio a Reims at the Musikverein in Vienna; Carmen in Rome; Don Giovanni in Bologna; Il Trovatore in Fermo and Jesi; Figaro in Le Nozze di Figaro at the Grange Festival in London; Verdi’s Requiem in Pisa; Mozart’s Requiem in Lucca and Händel’s Messiah in Madrid, Gdansk and Sevilla with Fabio Biondi and Europa Galante; Rossini’s Stabat Mater with the Verdi Orchestra in Milan. Future plans: Guglielmo in Così fan tutte in Nice and Antibes; Leporello at the Guangzhou Opera House; Figaro in Le Nozze di Figaro at the Norske Opera in Oslo.
In a hall in Don Magnifico’s castle, his daughters Clorinda and Tisbe are titivating themselves, while their stepsister Cenerentola (Cinderella), whose real name is Angelina, sings a song about a king who chose a good-natured girl as his bride. She gives breakfast to a beggar (Alidoro, Prince Ramiro’s tutor in disguise) to her sisters’ annoyance. The prince’s knightly retinue announce that the prince is about to give a grand ball at which he will choose the most beautiful woman as his wife. The beggar prophesies that tomorrow Cenerentola will be happy. Don Magnifico wakes up and describes a dream he has had, predicting that he will gain a great fortune. When he hears of the prince’s visit, he is convinced that one of his daughters will win his hand. Ramiro swaps clothes with his attendant, Dandini, and makes a visit in disguise. He and Cenerentola fall in love at first sight. Clorinda and Tisbe are introduced to Dandini, playing the prince. Cenerentola asks to go to the ball, but Don Magnifico tells her to stay at home. When Alidoro brings a list of unmarried women and asks where Magnifico’s third daughter is, Magnifico tells him she has died. Alidoro secretly tells Cenerentola who he is and invites her to the ball. At the palace, Dandini (still in disguise) makes Magnifico his wine steward. Clorinda and Tisbe are rude to Ramiro, thinking him to be nothing but an attendant. A beautiful, mysterious lady appears and the step-sisters are astonished by how much she resembles Cenerentola.
The courtiers laugh at the sisters. Magnifico thinks how much money he will make as the prince’s father-in-law. Ramiro overhears Cenerentola refusing Dandini’s courtship because she is in love with his attendant. She gives Ramiro a bracelet and tells him he will recognise her because she will be wearing its twin. If he still loves her, he can marry her. Ramiro changes out of his disguise and decides to track down the mysterious woman. Dandini lets Magnifico daydream then reveals who he really is. On their return to Magnifico’s castle the sisters find Cenerentola by the fire. They scold her for daring to look like the lady at the ball. Alidoro makes sure the prince’s carriage overturns outside the castle. Cenerentola and Alidoro recognise each other, and everyone is astonished at the intricate tangle of events. Ramiro spirits Cenerentola away to his palace and Alidoro warns the sisters to beg for forgiveness. At the wedding, Cenerentola pleads with the prince to have mercy on her father and her stepsisters and reflects on how her own fortunes have changed.