Pandolfe proves incapable of standing up to her and protecting his daughter.Īnd who could stand up to this productions Haltière, mezzo-soprano Stephanie Blythe? With her powerful, deep-set voice and take-charge presence, Blythe is hilariously withering. Soon she revealed herself as overbearing and ambitious. As we learn, Pandolfe was a widower living contentedly in the country with his beloved daughter when he foolishly married the energetic Madame de la Haltière, who already had two children. Leonard, who has excelled at the Met as Debussys Mélisande and in other major roles, does it meltingly.Ĭinderellas rescuer, unfortunately, is not her father, Pandolfe (bass-baritone Laurent Naouri). There must be someone who can rescue her somewhere a loving soul mate is waiting. Left alone to ponder her fate, Cinderella sings a wistful aria, music that suggests an old folk song, and allows herself a moment to dream. Wearing a raggedy dress and frumpy sweater, she is treated like a lowly servant by her imperious stepmother and snide stepsisters. In Laurent Pellys boldly stylized production of this adaptation of Perraults fairy tale, when we meet Cinderella (the affecting mezzo-soprano Isabel Leonard) she is restless and forlorn. That poignant question is at the core of Massenets 1899 opera ∼endrillon, which opened Friday at the Metropolitan Opera in English translation as ∼inderella a holiday offering trimmed to 95 minutes and aimed at families.
What is the difference between real life and dreams, especially for an insecure young person?
0 kommentar(er)
