This is sometimes the price of a work, it is its ambiguity. A plot too blotchy, too smooth, and prevents the depth. While it is in its meandering, nestles his wealth. In truth, nothing is more significant than these fairy tales, which has invaded our childhoods. Each age of life has an interpretation and, from 7 to 77 years old, they are only the mirrors of our terrors. The filter of the “versions Walt Disney” of these myths has sometimes affadi, infantilisé about, so that they have forged the western imagination.

All this to say that, in Rossini, Cinderella , it is much more than Cinderella. Here is one of the operas to the most complex, the least obvious of the author of the Barber of Seville. We are far away from these wonderful pranks rigolardes that are The Italian in Algiers or The Turk in Italy. We are also a thousand miles of the booklets stuck to his opera seria that remain demonstrations of (great) virtuosity. This portrait of a woman humiliated by his own can be treated in the mode of “food”, which is usually the case, sometimes with great pleasures. Or it is as rare as interesting to shoot the comedy to a kind of drama grimacing, when the smile freezes, and where the joy masks a wound.

This is a Rossini unsettling, almost disturbing, because we smiled without laughing, as always Gallienne reminds us of the profound reality of the plot and its characters

It is well as well as designed by Guillaume Gallienne, in this show mounted last year at the Palais Garnier. Some may have been surprised by a Rossini certainly joyful (the music is still there) but that defies the usual codes. Without trying to give a useless political reading of La Cenerentola , Gallienne gives a vision on acid, dark, almost nordic in spite of the fawn tones of the beautiful scenery of Éric Ruf. Here, the commedia dell ‘ arte looks to Bergman and Grimm to Bettelheim. This is a Rossini unsettling, almost disturbing, because we smiled without laughing, as always Gallienne reminds us of the profound reality of the plot and its characters. It does not opt for the game of massacre, but to a sincere sympathy, recalling that the rules of these comedies Italian so fierce that flourished during the 1970s.

there is No doubt that the mezzo Marianne Crebassa will be a Cenerentola at flower of skin, in nuance, in subtlety. Face it, we are happy to find the Dandini baritone Florian Sempey, as well as the Don Ramiro tenor quicksilver Lawrence Brownlee, whose stamp of honey has enjôlé the parisian public in the Ernesto in Don Pasquale, last June. As for the veteran Alessandro Corbelli, it is broken at the rouerie of the cowardly and spineless Don Magnifico. Finally, the maestro Evelino Pido is a road in the Italian repertoire, bel canto, that he might lead the blind, as it the practice for a long time on the French scenes.

La Cenerentola at the Opéra Garnier place de l’opera (Ninth). Tel.: 08 92 89 90 90. Dates: 23 nov. the 26 dec.at 19: 30. Tickets: from 25 € to 185€.

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