La Scala Revives Rossini’s “La Cenerentola” with Mixed Results

Teatro alla Scala recently revived its iconic production of Gioachino Rossini’s “La Cenerentola,” marking the first performance of this version since 2019. Directed by Federica Stefani, the revival showcased young talent from the Accademia Teatro alla Scala, but the results stirred mixed reactions among audiences and critics.

Rossini composed “La Cenerentola,” which premiered in Naples in 1817, by incorporating elements from earlier works while collaborating with his colleague Luca Agolini. The opera quickly gained popularity, often eclipsing other renowned works by the composer. By the end of the 19th century, however, it had fallen into obscurity, only to regain its status as a vital piece in the operatic repertoire in recent decades.

Production Highlights and Challenges

Jean-Pierre Ponnelle’s original production remains a hallmark of La Scala’s tradition, characterized by its elegant sets and costumes. The revival aimed to honor this legacy, yet it faced significant challenges. Stefani’s direction included unnecessary comedic elements that detracted from the opera’s refined aesthetic. The addition of sound effects, such as tinkling chimes and bird recordings, clashed with the original intent of the piece.

In the orchestra pit, conductor Gianluca Capuano made his La Scala debut, introducing bold interpretations that, at times, lacked stylistic coherence. While his energetic direction highlighted Rossini’s famous crescendos, it was marred by erratic tempo choices and imbalanced orchestral dynamics. The student orchestra displayed varying levels of skill, and the use of period instruments added a unique flavor, although it occasionally revealed technical inconsistencies.

The handling of recitatives was particularly problematic. Pianists Marco Gatti and Daniele Di Teodoro strayed from the score, infusing a circus-like style that undermined the seriousness of Rossini’s work. In contrast, the men’s chorus, prepared by Salvo Sgrò, performed with commendable precision, enhancing the ensemble scenes.

Cast Performance Overview

The cast featured young artists who navigated the demanding roles with varying degrees of success. In the title role, Mara Gaudenzi portrayed Angelina with an agile coloratura and convincing stage presence, particularly in the aria “Una volta c’era un re.” Her performance showcased the character’s naivety and kindness.

As Prince Ramiro, Pierluigi D’Aloia delivered an elegant interpretation, supported by a pleasant timbre. His chemistry with Gaudenzi during the duet “Un soave non so che” created memorable moments. Chao Liu as Dandini displayed promise but struggled with bel canto diction, while Paolo Ingrasciotta excelled as Don Magnifico, utilizing his comedic skills effectively.

The stepsisters, played by María Martín Campos and Dilan Şaka, brought humor to their roles, though their characterizations were somewhat one-dimensional. Finally, Li Huanhong provided a well-intoned performance as Alidoro, although the demands of Rossini’s aria exposed some technical challenges.

Despite the production’s shortcomings, the audience, composed largely of international attendees, responded warmly. Their applause highlighted the enduring charm of Rossini’s music, even in a performance that did not quite meet the expectations set by La Scala’s illustrious history.

As the Accademia prepares for its next challenge with “L’elisir d’amore,” scheduled for September 2026, the hope remains that the institution will return to its celebrated standard of excellence, ensuring that classics like “La Cenerentola” continue to enchant audiences without the need for unnecessary embellishments.