Gioacchino Rossini’s comic opera Cinderella (La cenerentola) will receive its first professional performances in Boise since 1979 on Friday, Feb. 26 (7:30 pm) and Sunday, Feb. 28 (2:30 pm), 2010, at the Egyptian Theatre. The opera, last performed in Idaho in 1979 by the touring Western Opera Theater, will be sung in Italian with English supertitles. Ballet Idaho Artistic Director Peter Anastos will make his Opera Idaho directing debut. Boise Baroque and former Opera Idaho and Boise Philharmonic conductor Daniel Stern will conduct. The opera tells the classic fairy tell, but with a twist … there are no glass slippers, rather bracelets, and the fairy godmother is a fairy godfather … but, it all adds up to an uproariously funny opera. A free matinee performance for school children will be presented on Monday, March 1, at the Egyptian Theatre.

Synopsis

In this variation of the traditional Cinderella story, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and the Prince’s tutor. Cinderella is identified not by her glass slipper but by her bracelet.

Time: Late 18th century – early 19th century
Place: Italy

Act 1. Angelina (“Cenerentola”) is forced to work as the maid in the run-down house of her stepfather Don Magnifico. While his two daughters, Clorinda and Tisbe, try on their gowns and jewelry, Cenerentola sings a ballad about a king who found his wife among common folk. A beggar appears. Clorinda and Tisbe want to send him away, but Cenerentola offers him bread and coffee. Courtiers arrive to announce that Prince Ramiro is looking for the most beautiful girl in the land to be his bride and will soon pay them a visit. Prince Ramiro arrives, disguised as his own valet in order to observe the women without them knowing. He is immediately struck with admiration for Cenerentola and she for him. Cenerentola leaves when her stepsisters call her. Don Magnifico enters and Ramiro tells him the Prince will arrive shortly. The “prince” is actually Dandini, Ramiro’s valet in disguise. The stepsisters arrive and fawn over Dandini, who invites them to a ball at the royal country palace. Don Magnifico tells Cenerentola that she cannot accompany them to the ball. Before leaving, Ramiro notes how badly Cenerentola is treated. His tutor, Alidoro, who had been at the house earlier disguised as the beggar, arrives still wearing his rags and asks for Don Magnifico’s third daughter. Magnifico denies she is still alive, but when Alidoro is left alone with Cenerentola, he tells her that she will accompany him to the ball. He throws off his beggar’s clothes and identifies himself as a member of Prince Ramiro’s court, telling her that heaven will reward her pure heart.

The stepsisters and Don Magnifico arrive at Prince Ramiro’s palace with Dandini, still posing as the prince. Dandini offers Magnifico a tour of the wine cellar, hoping to get him drunk. He then disentangles himself from the family and tells Ramiro how stupid the two sisters are. Ramiro is confused since Alidoro had spoken well of one of Magnifico’s daughters. Clorinda and Tisbe enter, and Dandini offers Ramiro as an escort for one of them. Believing him to be a mere valet, they reject him. Alidoro announces the arrival of an unknown veiled lady (Cenerentola). All sense something familiar about her and feel they are in a dream but on the verge of being awakened with a shock.

Act 2 Don Magnifico, Clorinda, and Tisbe are in a room of Ramiro’s palace. Magnifico frets over the unknown woman who threatens the chance for one of his daughters to marry Prince Ramiro. The three leave and Ramiro enters, smitten with the unknown woman who resembles the girl he had met that morning. He conceals himself as Dandini arrives with Cenerentola and tries to court her. She turns Dandini down politely, telling him that she is in love with his valet. Ramiro steps forth, reveals himself as the prince and declares his love for her. She then leaves giving him one of a pair of matching bracelets and saying that if he really cares for her, he will find her. Encouraged by Alidoro, Ramiro calls his men together to begin searching for her. Meanwhile, Dandini confesses to Don Magnifico that he is really Prince Ramiro’s valet. Magnifico becomes highly indignant, and Dandini orders him out of the palace.

At Magnifico’s house, Cenerentola, once again dressed in rags, is tending the fire and singing her ballad. Magnifico and his daughters return from the ball in a vile mood, and order Cenerentola to prepare their supper. A thunderstorm rages. Dandini suddenly appears at the door to say that Prince Ramiro’s carriage has overturned outside and brings him into the house. Cenerentola fetches a chair for the prince and realizes he is Ramiro. He recognizes her bracelet and the couple are reunited. Don Magnifico, Clorinda and Tisbe are furious. Angered by their meanness to Cenerentola, Ramiro threatens to punish them, but Cenerentola asks him to be merciful. As Cenerentola leaves with her prince, Alidoro thanks heaven for the happy outcome.

In the throne room of Ramiro’s palace, Magnifico tries to curry favour with his stepdaughter, the new princess, but she only wants to be acknowledged as his daughter. Cenerentola asks the prince to forgive Magnifico and the two stepsisters. Her father and stepsisters embrace her as she declares that her days of toiling by the fire are over.

–from wikipedia

Cast & Gallery

Cast

Angelina/Cinderella, soprano – Karin Mushegain

Don Ramiro, a prince, tenor - Marcus Shelton

Don Magnifico, bass-baritone – Joseph Rawley

Dandini, the prince’s valet, baritone - Jason Detwiler

Clorinda, soprano – Leslie Mauldin

Tisbe, mezzo-soprano – Michele Detwiler

Alidoro – Seth Carico

Conductor – Daniel Stern

Stage Director – Peter Anastos

Young American mezzo, Karin Mushegain (Angelina/Cinderella), is captivating audiences with her exciting and energetic portrayals, dramatic poise and the resonance, and roundness and warmth of her vocal sound. While at Glimmerglass Opera during the summer of 2009, Karin sang three new roles: Tisbe in Rossini’s La cenerentola, and as a cover she went on stage to perform  Angelina in La cenerentola and the Secretary in Menotti’s The Consul. In the fall of 2008, she made her debut with the Los Angeles Opera as the Novice in Oscar-winning director William Friedkin’s production of Suor Angelica under the baton of Maestro James Conlon, followed by performances at Florida Grand Opera as Flora in La Traviata and Tisbe. At Lake George Opera in the summer of 2008, Karin sang Kate in The Pirates of Penzance and La Ciesca in both Gianni Schicchi and Michael Ching’s Buoso’s Ghost.

In 2007 Karin collaborated with Ricky Ian Gordon as a soloist in performing pieces from his My Life With Albertine at the Hawaii Performing Arts Festival. The same year she performed Maddalena in Rigoletto with Opera Western Reserve. In 2006 she portrayed Maria in Ash Lawn Opera’s production of West Side Story for which she earned both critical and audience acclaim. Since making her company and professional debut in 2006 at the Pittsburgh Opera as Dryade in Ariadne auf Naxos, Karin has returned there several times in the roles of Amastre in Händel’s Xerxes, Sicle in Cavalli’s Ormindo, Zweite Dame in Die Zauberflöte, Stephano in the student matinee of Romeo et Juliette and the Minskwoman in the company premiere of Jonathan Dove’s Flight.

Karin’s 2009/2010 engagements include her Opera Memphis debut as Dorabella in Così fan tutte under the baton of Maestro Michael Ching. Last month she covered for the role of Lisetta in Haydn’s Il Mondo della Luna at Gotham Chamber Opera in New York City, and in the summer of 2010 she will return to Glimmerglass to perform Alessandro in Händel’s Tolomeo as well as cover the title role of Tolomeo.

Tenor Marcus Shelton (Don Ramiro) continues to receive praise for his “excellent control and high notes to blow the roof off” and is one of the brightest up and coming talents today. Not only as a singer, but as an actor on stage, Marcus has been compared to Hugh Grant in his portrayal of Tonio (La Fille du Régiment) and Chris Elliot in his characterization of Beppe (Donizetti’s Rita). Having recently been featured in Opera Now Magazine’s “Who’s Hot” section, Marcus has been featured with opera and concert companies around the world. Highlights include his international mainstage debut as Rinuccio in Puccini’s Gianni Schicchi with Greek National Opera, followed by a Rossini concert with Opera Oviedo in Oviedo, Spain, and as a finalist in the Les Azuriales opera competition in Nice, France.

Marcus recently completed his second year as a young artist with Seattle Opera’s Young Artist Program. His roles included Beppe, the trio tenor in Bernstein’s Trouble in Tahiti, Rinuccio, Petit Viellard & Rainette in Ravel’s L’Enfant et les Sortilèges, Don José in a La Tragedie de Carmen, Loge in a children’s adaptation of Wagner’s Das Reingold, and as Fenton in Verdi’s Falstaff. Other recent roles and performances include Alfredo/Gastone (Oct 2008) in Verdi’s La Traviata with Skagit Opera and a return to Seattle Opera’s YAP as a guest artist in Britten’s A Midsummer Night’s Dream.

In 2005, Marcus appeared as Alfred/Eisenstein is Seattle Opera guild’s opera previews of Strauss’ Die Fledermaus.  He has also performed as The Duke of Mantua in Verdi’s Rigoletto with Seattle Opera Guild’s Opera previews. In 2003, Marcus performed with NOISE (Northwest Opera in Schools etc.) as Hoffman in Offenbach’s The Tales of Hoffman.

Bass-baritone Joseph Rawley (Don Magnifico) enjoys a many-sided career which includes performances on the opera stage, recital hall, and symphony hall. A native of Cleveland, he studied voice at the University of Evansville (IN), and completed his academic studies under the tutelage of Dr. Joyce Farwell at Rice University in Houston. He then went on to apprenticeships in Portland, OR, and Seattle, where he enjoyed great successes, making his mainstage debuts at both companies and receiving glowing reviews in his performances while there. He also attended the prestigious Merola Opera Program in San Francisco, where he had the great privilege to study with some of the great voices and coaches in contemporary opera. Recently, he has performed with Seattle Opera, Opera Idaho, Dayton Opera, and Opera San Jose. Past roles include Figaro and Bartolo in Le Nozze di Figaro, the Four Villains and Luther/Crespel in Les Contes d’Hoffmann, Schaunard and Colline in La Bohème, and Dr. Bartolo in Il Barbiere di Siviglia. He is also a frequent contributor and serves as an advisor to the board of directors of Opera Vista, a new music opera company located in Houston. He is currently on faculty at the Cy-Fair Campus of Lone Star Community College, San Jacinto College South, and Houston Community College Northwest, all in the Houston area. Joseph makes his year-round home in Houston, where he lives with his wife, pianist Sarah Spencer.

With over thirty lead roles to his credit, Jason Detwiler (Dandini) is becoming well-known for his magnetic and energizing performances on the opera stage. His voice and acting have been described as “emotionally fervid”, “richly expressive” and “commanding”, with a diverse repertoire ranging from the comedic Papageno (Die Zauberflöte) and Guglielmo (Cosi fan tutte) to the dramatic Germont (La Traviata) and Escamillo (Carmen). Among his most widely acclaimed roles are Figaro (Il Barbiere di Siviglia), Malatesta (Don Pasquale), Zurga (Les Pechêurs de Perles), and John Proctor (The Crucible). His concert credits include: Bach’s St. John’s Passion, Handel’s Messiah, Beethoven’s Ninth Symphony, Saint-Säens’ Christmas Oratorio, Einhorn’s Voices of Light, and Faure’s Requiem.

As Opera Idaho’s first Artist-in-Residence this season, the baritone has performed the roles of Valentin (Faust) and Melchior (Amahl and the Night Visitors). He will appear as Mr. Webb (Our Town). In addition, he returned to the Boise Philharmonic as a Soloist in Bernstein’s Candide Suite.

A student of heldentenor, Claude Heater, Jason has performed with San Diego Opera, Virginia Opera, Syracuse Opera, Sacramento Opera, Shreveport Opera, Festival Opera of Walnut Creek, Opera Coeur d’Alene, Rimrock Opera, Opera Idaho, West Bay Opera, and Trinity Lyric Opera. From 2002-2006, the young baritone was part of Irene Dalis’ Opera San Jose as a Principal Resident Artist. While there, he sang Dandini (La cenerentola), Falke (Die Fledermaus), Papageno, Valentin, Silvio (I pagliacci), Escamillo, Marcello (La Bohème), John Proctor, and the title roles of Mozart’s Don Giovanni and Figaro among others. Other major roles include: Eugene Onegin, Mr. Gobineau (The Medium), Harlekin (Ariadne auf Naxos), Yeletsky (Pikovaya Dama), and the title role in Vaughan Williams’ Pilgrim’s Progress.

Leslie Mauldin (Clorinda) has performed dynamically and to critical acclaim in many venues, from touring as soprano soloist with the Israeli Philharmonic to a one woman show in Spain, where she attended conservatory. Her work comprises many diverse leading opera roles, including the title role in Tosca, Violetta (La traviata) with Opera Idaho and Skagit Opera, Musetta (La bohème), Micaela (Carmen), Hanna Glavari (The Merry Widow), The Countess (Le nozze di Figaro), and Donna Anna (Don Giovanni). She will appear as Nellie Forbush in Opera Idaho’s upcoming South Pacific in concert.

Leslie’s credits also include stage direction for operas and shows including Suor Angelica, Jacques Brel is Alive and Well and Living in Paris, and an outreach production of La bohème.  Her concert/oratorio work as a soprano soloist comprises over a dozen varied works, including  Mendelssohn’s Midsummer Night’s Dream performed with the Ventura, CA “New West Symphony” at its premiere performance at the Thousand Oaks Civic Arts Plaza, under the direction of Boris Brott, and with Claire Bloom narrating. A native of Los Angeles, she has also worked in film and television, and is a member in good standing of Screen Actor’s Guild, Hollywood division. 

Since 2000, Michele Detwiler (Tisbe) has sung nearly two dozen roles with regional companies on the West Coast, favoring Mahler, Strauss, Bel Canto and French repertoire. Critics have described her instrument as “amber-voiced”, “a velvety mezzo soprano voice with excellent range”, with performances being cited as “riveting” and holding “center stage commandingly”.

The 2009-2010 season finds Michele debuting with Opera Idaho as Siébel in Faust and Tisbe in La cenerentola, and returning to the Boise Philharmonic as a soloist in Bernstein’s Candide Suite. From 2001-2007, she was a Principal Artist and Guest Artist with Opera San Jose, where she sang in eighteen productions ranging from lyric to dramatic repertoire. While there she garnered much praise for her portrayal of Elizabeth Proctor (The Crucible), and took on the roles of Carmen, Suzuki (Madama Butterfly), Rosina (Il Barbiere di Siviglia), the title role of La Cenerentola, Dorabella (Cosí fan tutte), Cherubino (Le Nozze di Figaro), Zerlina (Don Giovanni), Stephano (Romeo et Juliette), Siebel (Faust), Prince Orlofsky (Die Fledermaus), and Flora (La Traviata) among others. In addition, the young mezzo has sung with Sacramento Opera, West Bay Opera, Trinity Lyric Opera, San Francisco Lyric Opera, Mission City Opera, Apollo Sierra Opera, the Boise Philharmonic, Auburn Symphony, and Symphony Silicon Valley. Her concert credits include soloist in Handel’s Messiah, Mozart’s Requiem, Saint-Säens’ Christmas Oratorio, Mahler’s Songs of a Wayfarer, Herzogenberg’s Die Geburt Christi, and Einhorn’s Voices of Light.

Hailed by Opera News for his “very solid Bass-Baritone” and particularly noted for his commanding stage presence and expressive vocalism, Seth Mease Carico (Alidoro) is distinguishing himself as an accomplished young American singer. Opera Today praised “the dynamic presence of Carico, whose ringing baritone gave much pleasure.” Seth effortlessly capitalizes on his dramatic training, bringing a unique sensitivity to operatic characters at disparate ends of the theatrical spectrum.

This season, Seth returns to the Fort Worth Opera Festival, where he creates the role of Victor in the world premiere of Jorge Martin’s Before Night Falls. He also returns to Nashville Opera to perform Monterone in Verdi’s Rigoletto. In 2008-2009 Seth made his mainstage debut with Fort Worth Opera, appearing as Zuniga in Bizet’s Carmen and George Benton in Heggie’s Dead Man Walking, following his debut with Lake George Opera in Saratoga Springs, NY, as the Imperial Commissioner in Puccini’s Madama Butterfly. He returned to Chautauqua Opera, where he was a Studio Artist in 2006.

Seth is an accomplished alumnus of young artist training programs affiliated with Nashville Opera, the Seagle Music Colony, and the Brevard Music Center. In 2008, he was named the Grand Prize Winner of the Orpheus National Vocal Competition, and he received an Encouragement Award from the Chautauqua Opera Guild. In 2007, he was awarded a Special Prize at the International Czech and Slovak Song Competition.

Daniel Stern (Conductor) grew up in Rochester, New York, where he earned his bachelor’s degree from the Eastman School of Music. He also holds Master’s and Doctorate degrees from the University of Oregon. From 1971 to 1974, he was on the faculty of New Mexico Highlands University as professor of Music. He also performed as a violinist with the Eastman Philharmonia, the Portland Opera Orchestra and the Santa Fe Opera Orchestra.

Dr. Stern moved to Idaho in 1974 as Music Director of the Boise Philharmonic, a position he held until 1987. During his tenure the orchestra’s budget grew tenfold as it began the evolution from a community orchestra to the fine professional ensemble it is today. During this time, he was also the principal conductor of what was then known as the Boise Civic Opera, leading numerous performances of works such as Faust, Don Giovanni, Rigoletto, La Traviata and many others. In 1984, he conducted both the Verdi Requiem and Carmen as part of the opening week of the Morrison Center for the Performing Arts. Dr. Stern has also taught at Boise State University and the College of Idaho. In 2005, he was named Music Director of the Boise Baroque Orchestra. 

Dr. Stern is married to Paula Stern, a noted violinist and teacher. He is the proud father of daughters Frances Stern Dudley, a Boise attorney, Rebecca Stern, a violinist with the Fort Worth Symphony, and grandfather of Benjamin, Gina and Angela Dudley, grandchildren par excellence.

Peter Anastos (Stage Director) has choreographed over 100 stage works for the finest national and regional ballet companies in the United States as well as for modern dance companies, theater, film, and television. He has also choreographed in Europe, Asia and Latin America and his ballets are performed worldwide. He was the founding Director/Choreographer of Les Ballets Trockadero de Monte Carlo and served as Artistic Director for Garden State Ballet and Cincinnati Ballet.

Mr. Anastos enjoys a longstanding collaboration with Mikhail Baryshnikov and their projects together include American Ballet Theater’s Cinderella, CBS Television’s Baryshnikov in Hollywood (Emmy Award nomination) and the photography book, The Swan Price for Bantam Books.  Mr. Anastos was also invited to create new work for the White Oak Dance Project.  Mr. Anastos has the rare honor of receiving two Guggenheim Foundation Fellowships in Choreography and four Fellowships from the National Endowment for the Arts. He was the subject of a New Yorker Magazine Profile by the foremost American dance writer, Arlene Croce.

For the Broadway stage he choreographed I Hate Hamlet and Where She Danced, based on the life of Isadora Duncan. Other major theatre credits include 33 Variations (Arena Stage, Washington, DC) and Chess (National Company). He has choreographed several television specials and two Hollywood films, Addams Family and Addams Family Values, both for Paramount Pictures.

He has directed opera for the Washington Opera at the Kennedy Center and for the Opera Company of Philadelphia and was choreographer-in-residence for the Santa Fe Opera and Sundance Theatre Festival, part of Robert Redford’s Sundance Institute in Utah.

A writer and historian, Mr. Anastos has published essays about ballet for the New York Times, Los Angeles Times, Dance Magazine, Ballet News, DanceInk and Ballet Review, where he is a member of the Editorial Board. He is a contributor to the new book, Reading Dance, Random House, New York, 2008.

Mr. Anastos directed the Ballet Project at Jacob’s Pillow Dance Festival and has taught ballet technique in New York and throughout the United States.