"pantomime in both story and style at the Royal Strand Theatre in 1860: ""Cinderella! Or the Lover, the Lackey, and the Little Glass Slipper"". In the traditional pantomime version the opening scene takes place in a forest with a hunt in progress; here Cinderella first meets Prince Charming and his ""right-hand man"" Dandini, whose name and character come from Gioachino Rossini's opera (""La Cenerentola""). Cinderella mistakes Dandini for the Prince and the Prince for Dandini. Her father, Baron Hardup, is under the thumb of his two stepdaughters, the Ugly sisters, and has a servant, Cinderella's friend Buttons. (Throughout the pantomime,"
"Rossini in ""Elisabetta, regina d'Inghilterra"" and in ""The Barber of Seville"". It premiered at La Scala in Milan on 26 December 1813. 19th century ""Aureliano in Palmira"" was Rossini's second commission from La Scala. It opened the theatre's Carnival season with the famed castrato, Giovanni Battista Velluti as Arsace. It was the only role that Rossini wrote for the castrato voice. Rossini had originally written the role of Aureliano for Giovanni David, one of the most renowned tenors of the day. However, throat problems during rehearsals led David to withdraw from the production, and Luigi Mari took his place. The"
"were Gino Del Signore and Tito Gobbi. Giulio Crimi Giulio Crimi (May 10, 1885 – October 29, 1939) was an Italian operatic tenor. Crimi was born in Paternò, Italy. He studied in Catania with Adernò and made his debut in Palermo, as Manrico in ""Il trovatore"", in 1910, later appearing in Treviso as Hagenbach in ""La Wally"". He sang throughout Italy, Rome, Milan, etc., and created in Turin the role of Paolo in Zandonai's ""Francesca da Rimini"" in 1914. That same year saw his debut in London, where he sang the role of Avito in the local premiere of ""L'amore"
"attracted the attention of impresarios, and he was invited to sing at principal venues throughout Italy, including the Teatro Costanzi in Rome, La Fenice in Venice and the Verona Arena. Other major Italian cities that heard him sing were Naples, Parma, Turin and Genoa, and he travelled also to Monaco. In 1937, he made the first of what would prove to be many appearances at Italy's foremost opera house, the Teatro alla Scala in Milan, as Ramiro in Rossini's ""La cenerentola"". Nine years later, following World War II, he took part in an historic concert held to mark the re-opening"
"the Jailer in ""Tosca"". Four days later, as a last minute replacement, he sang Leporello in Don Giovanni. He quickly became a favorite with the audience in comic roles, such as Bartolo in ""The Barber of Seville"" and Dulcamara in ""Elisir d'amore"", though he also excelled in more lyrical and dramatic repertory. In his 27 seasons with the company, he sang, notably, Rodolfo in ""La sonnambula"", Giorgio in ""I puritani"", Raimondo in ""Lucia di Lammermoor"", Silva in ""Ernani"", Wurm in ""Luisa Miller"", Sparafucile in ""Rigoletto"", Fra Melitone in ""La forza del destino"", Philippe II in ""Don Carlos"", Pogner in ""Die"
"Giovanni Malipiero Giovanni Malipiero (April 20, 1906 – April 10, 1970) was an operatic tenor who enjoyed a prominent career on stage and on radio in his native Italy during the 1930s and 1940s. Malipiero was born in Padua, Italy, where he also studied singing. Lonigo, near Vicenza, was the scene of his professional debut in 1930, as the Duke of Mantua in Verdi's ""Rigoletto"". The following year he sang the same role at the Teatro Ponchielli in Cremona. This performance marked the true start of his career as a leading artist. The fine quality of Malipiero's lyric voice soon"
"""La Traviata"", Barbarina in ""Le nozze di Figaro"", Flower Maiden in ""Parsifal"", Garsenda in ""Francesca da Rimini"", Gilda in ""Rigoletto"", Gretel in ""Hänsel und Gretel"", Guadalena in ""La Périchole"", Juliette in ""Roméo et Juliette"", Konstanze in ""Die Entführung aus dem Serail"", Lucia in ""Lucia di Lammermoor"", Norina in ""Don Pasquale"", Oscar in ""Un Ballo in Maschera"", Pamina in ""The Magic Flute"", Princess in ""L'Enfant et les Sortilèges"", Rosina in ""Il Barbiere di Siviglia"", Servilia in ""La Clemenza di Tito"", Sophie in ""Der Rosenkavalier"", and Sophie in ""Werther"" among others. Her last performance both with the Met and on the operatic"
"Abimélech in Saint-Saëns' ""Samson and Delilah"", Achillas in Handel's ""Giulio Cesare"", Alidoro in Rossini's ""La Cenerentola"", Benoit in Puccini's ""La bohème"", Billy Jackrabbit in Puccini's ""La fanciulla del West"", Bogdanowitsch in Lehar's ""The Merry Widow"", The Bonze in Puccini's ""Madama Butterfly"", Bosun in Britten's ""Billy Budd"", Doctor Bartolo in Rossini's ""The Barber of Seville"", Don Pedro in Offenbach's ""La Périchole"", Donner in Wagner's ""Das Rheingold"", Dulcamara in Donizetti's ""L'elisir d'amore"", the First Nazarene in Strauss' ""Salome"", Fritz Kothner in Wagner's ""Die Meistersinger von Nürnberg"", General Boom in Offenbach's ""La Grande-Duchesse de Gérolstein"", Leopold in Strauss' ""Der Rosenkavalier"", The One-eyed Man"
"Meneghino Meneghino (; Milanese: ) is a traditional character of the Italian ""commedia dell'arte"", associated to the city of Milan. As such, it also plays a major role in the Milanese celebrations of Carnival (""Carnevale Ambrosiano"") and in local ""marionette"" traditional shows. It is uncertain whether his name is just a diminutive form of ""Domenico"" or a reference to the ""domenighini"", a word used in Milan to refer to the servants that accompanied the faithful to masses on Sundays ( in Italian and in Milanese). Meneghino is in fact a witty servant (and thus a variation on the theme of"
"Niccolò Barbieri Niccolò (or Nicolò) Barbieri (Vercelli, 1586 - 1641) was an Italian writer and actor of the commedia dell'arte theatrical genre. He was also known as Beltrame di Milano (""Beltrame of Milan"") in reference to one of his most popular characters, Beltrame; this was the main character of one of Barbieri's best known plays, ""L'inavertito"", which is known to have inspired Moliere's ""L'Étourdi ou les Contretemps"" (""The Blunderer""). Besides popularizing Beltrame, Barbieri is also credited with creating another ""commedia dell'arte"" mask, Scapino. Barbieri was a successful author and actor, and one of those that toured Europe; he is known,"
"Carlo Opera, the Liceu in Barcelona, the Teatro Nacional Sao Carlos in Lisbon, the Teatro Colón in Buenos Aires, the San Francisco Opera, the Lyric Opera of Chicago, the Dallas Opera, etc. Although he sang a wide range of roles, Mozart and Rossini were always at the core of his repertory where his comic talent, wide-ranging voice and clear diction were shown to fine effect notably as Figaro, Leporello, Guglielmo, Mustafa, Selim, Dandini. He also enjoyed considerable success as Seneca in Monteverdi's ""L'incoronazione di Poppea"". Wladimiro Ganzarolli Wladimiro Ganzarolli (January 9, 1932 – January 13, 2010) was an Italian operatic"
"""Amelia Goes to the Ball"", the Count in Wolfgang Amadeus Mozart's ""Le nozze di Figaro"", Dapertutto in ""The Tales of Hoffmann"", Escamillo in Bizet's ""Carmen"", Ford in Verdi's ""Falstaff"", Gerard in Umberto Giordano's ""Andrea Chénier"", Giorgio Germont in Verdi's ""La traviata"", John the Baptist in Richard Strauss's ""Salome"", Ramiro in Maurice Ravel's ""L'heure espagnole"", and the title roles in Mozart's ""Don Giovanni"" and Verdi's ""Rigoletto"" among others. He notably recorded the role of Valentin in ""Faust"" with the NYCO for MGM Records in 1951 and portrayed Petruccio in the world premiere of Vittorio Giannini's ""The Taming of the Shrew"" in"
"in Italy between 1937 and 1941. Malipiero died 10 days short of his 64th birthday, in Padua. Giovanni Malipiero Giovanni Malipiero (April 20, 1906 – April 10, 1970) was an operatic tenor who enjoyed a prominent career on stage and on radio in his native Italy during the 1930s and 1940s. Malipiero was born in Padua, Italy, where he also studied singing. Lonigo, near Vicenza, was the scene of his professional debut in 1930, as the Duke of Mantua in Verdi's ""Rigoletto"". The following year he sang the same role at the Teatro Ponchielli in Cremona. This performance marked the"
"a strong theatrical sense. Luigi Piazza Luigi Piazza (1884 – 22 March 1967), was an Italian operatic baritone, particularly associated with the Italian repertory, especially the role of Rigoletto. Piazza was born in Bologna, where he studied at the Bologna Conservatory with Alberoni. He made his stage debut there in 1908, as Enrico in ""Lucia di Lammermoor"". His main career spanned from 1910 until 1930, during which time he sang at most of the major opera houses in Italy, with the ""Teatro Communale"" in Bologna remaining his anchor. Outside Italy, he appeared in France and Spain, and in 1916 at"
"Leone Giraldoni Leone Giraldoni (born 4 July 1824, Paris – died 19 September 1897, Moscow) was a celebrated Italian operatic baritone. He created the title roles of Gaetano Donizetti's ""Il duca d'Alba"" (1882) and Verdi's ""Simon Boccanegra"" (1857) as well as the role of Renato in Verdi's ""Un ballo in maschera"" (1859). Giraldoni studied in Florence with Luigi Ronzi and made his début as the High Priest in Pacini's ""Saffo"" (Lodi, 1847). He made his La Scala début as Il Conte di Luna in ""Il trovatore"" in 1850 and during his long career sang throughout Europe with considerable success. His"
"Aureliano in Palmira Aureliano in Palmira is an operatic ""dramma serio"" in two acts written by Gioachino Rossini to an Italian libretto in which the librettist was credited only by the initials ""G. F. R."" The libretto has generally been attributed to Giuseppe Felice Romani, but sometimes to the otherwise unknown Gian Francesco Romanelli. It has been suggested that the latter name may have resulted from a confusion of Romani with Luigi Romanelli, La Scala's house poet prior to Romani's appointment to the post. The story was based on the libretto by Gaetano Sertor for Pasquale Anfossi's 1789 opera ""Zenobia"
"have made a career out of singing such parts. Among these latter are singers such as Anthony Laciura, Jean Kraft, Nico Castel and Charles Anthony of the Metropolitan Opera; others include Plinio Clabassi and Karl Dönch. Notable ""comprimario"" roles, in operas which are performed often, include Antonio and Barbarina in ""The Marriage of Figaro"", the Speaker of the Temple, the Two Men in Armor, and two of the priests in ""The Magic Flute"", the Police Sergeant and Ambrogio in ""The Barber of Seville"", Count Monterone's prison guard, Count Ceprano's wife, the page, and Giovanna the nursemaid, in ""Rigoletto"", the Messenger"
"Alessandro Polonini Alessandro Polonini (1844, Crema – 1920, Crema) was an Italian bass-baritone. He created the roles of Benoît and Alcindoro in Puccini's opera ""La bohème"", as well as Geronte de Ravoir in his ""Manon Lescaut"". Polonini also created the role of the surgeon in Verdi's ""La forza del destino"". During his career Polonini sang throughout Italy, and also appeared in Barcelona (Gran Teatre del Liceu), Saint Petersburg (Bolshoi Kamenny Theatre), Buenos Aires (Teatro Colón) and Montevideo (Teatro Solis). In 1881, he sang at the Teatro Costanzi in Rome in the theatre's first performances of Rossini's ""The Barber of Seville"""
"Kenneth Tarver Kenneth Tarver is an African-American operatic tenor. He has appeared at some of the world’s most prestigious opera houses, such as the Royal Opera House Covent Garden, Municipal Theatre of Santiago in Chile (as Lindoro in ""L'Italiana in Algeri"" ), Wiener Staatsoper, Deutsche Oper Berlin, Staatsoper Unter den Linden, Bayerische Staatsoper, Dresden Semperoper, Gran Teatre del Liceu Barcelona, Opéra Comique París, Teatro Lirico Giuseppe Verdi in Trieste, La Monnaie Brussels, Metropolitan Opera, Washington (as Prince Ramiro in ""La Cenerentola"" ) and Teatro San Carlo Naples. Recently he sang the role of Orfeo in Joseph Haydn’s L’anima del filosofo"
"Verdi's ""Un giorno di regno"". In 1842 he portrayed the role of Marquis de Boisfleury in the world premiere of Donizetti's ""Linda di Chamounix"" at the Kärntnertortheater in Vienna. In 1847–1848 he was committed to the Royal Opera House in London where he sang Bartolo in Wolfgang Amadeus Mozart's ""The Marriage of Figaro"", Don Magnifico in Rossini's ""La Cenerentola"", Dulcamara in Donizetti's ""L'elisir d'amore"", Leporello in ""Don Giovanni"", and Mustafà in Gioachino Rossini's ""L'italiana in Algeri"" Agostino Rovere Agostino Rovere (1804, Monza – 1865, New York City) was an Italian operatic bass. After studying singing in Milan, he made his"
"Domenico Cosselli Domenico Cosselli (27 May 1801 in Parma – 9 November 1855 in Parma) was an Italian operatic bass-baritone, particularly associated with Rossini operas. He began his vocal studies in his native city in 1814 and made his stage debut there in 1821. He quickly made a specialty of Rossini roles, singing in ""Il barbiere di Siviglia"", ""Tancredi"", ""La cenerentola"", ""La gazza ladra"", ""Semiramide"", etc. He created for Donizetti the roles of Olivo in ""Olivo e Pasquale"" in 1827, and of Azzo in ""Parisina"" in 1833, also creating the role of Arnoldo in Pacini's ""Carlo di Borgogna"", in 1835."
"the première of Rossini's ""Stabat Mater"" and Verdi wrote a new cabaletta for him to sing in the main tenor aria in ""I due Foscari"" for a production in Paris. In established roles, Mario's very greatest performances were as the title character in Rossini's ""Otello"" of the same name, Gennaro in ""Lucrezia Borgia"", Almaviva in ""Il Barbiere di Siviglia"", Fernando in ""La favorite"", the Duke in ""Rigoletto"", Alfredo in ""La traviata"", Manrico in ""Il trovatore"", Lionel in ""Martha"" and many others. The Royal Opera House, Covent Garden in London and the Théâtre Italien in Paris were the scenes of most"
"game at White Hart Lane. Born in Carmarthen, West Wales, Evans studied at the Guildhall School of Music and Drama and the National Opera Studio. In late 2011 Evans was cast as the opera singer Ubaldo Piangi, in the 25th Anniversary celebratory production of Andrew Lloyd Webber's ""The Phantom of the Opera at the Royal Albert Hall"" Evans enjoys a close association with Welsh National Opera where his roles include Nemorino in ""L'elisir d'amore"", Cassio in ""Otello"" (S4C Broadcast), The Duke in ""Rigoletto"", Rodolfo in ""La bohème"", Pedrillo in ""Die Entführung aus dem Serail"", Tamino in ""Die Zauberflöte"", Alfredo in"
"tutte""), Vincenzo Bellini (""I Puritani"" and ""La Sonnambula""), Gaetano Donizetti (""La fille du régiment"") and Giovanni Pacini (""L’ultimo giorno di Pompei""). A highly respected Rossini specialist, he made his Metropolitan Opera debut in 1988 as Count Almaviva in ""Il barbiere di Siviglia"". He has performed Rossini's comic operas ""La scala di seta"", ""L'occasione fa il ladro"", ""L'italiana in Algeri"", ""La gazza ladra"", ""La Cenerentola"", ""La pietra del paragone"", ""Il viaggio a Reims"", ""Le comte Ory"" as well as his ""opere serie"" ""Otello"", ""Zelmira, Armida"", ""Ricciardo e Zoraide"", ""Maometto II"", ""Semiramide"", etc. He now mainly dedicates himself to teaching singing and"
"Geltrude Righetti Geltrude Righetti (1793–1862) was an Italian contralto closely associated with the operas of Gioachino Rossini. (Her name is also sometimes given as Giorgi-Righetti or Righetti-Giorgi, Giorgi being the name of her husband.) Born in Bologna, she also studied and made her debut there in 1814. The following year she created the important role of Rosina in ""The Barber of Seville"" and in 1817 she was the first heroine of ""La Cenerentola"", both in Rome. Her career was short and she retired from the stage in 1822. She died in Bologna in 1862. In 1823, in response to an"
"also performed in other cities in Britain and Ireland with impresario Thomas Willert Beale's touring opera company. Alessandro Polonini Alessandro Polonini (1844, Crema – 1920, Crema) was an Italian bass-baritone. He created the roles of Benoît and Alcindoro in Puccini's opera ""La bohème"", as well as Geronte de Ravoir in his ""Manon Lescaut"". Polonini also created the role of the surgeon in Verdi's ""La forza del destino"". During his career Polonini sang throughout Italy, and also appeared in Barcelona (Gran Teatre del Liceu), Saint Petersburg (Bolshoi Kamenny Theatre), Buenos Aires (Teatro Colón) and Montevideo (Teatro Solis). In 1881, he sang"
"Seattle Opera and the Metropolitan Opera in addition to the Swedish Radio Symphony Orchestra. His roles include Figaro in ""Le Nozze di Figaro"", the four villains in ""The Tales of Hoffmann"", Raimondo in ""Lucia di Lammermoor"", Giorgio in ""I Puritani"", Escamillo in ""Carmen"", Don Basilio in ""Il barbiere di Siviglia"", Colline in ""La Bohème"", Marke in ""Tristan und Isolde"", Caspar in ""Der Freischütz"", Banquo in ""Macbeth"", Collatinus in ""The Rape of Lucretia"", Garibaldo in ""Rodelinda"", Publio in ""La Clemenza di Tito"", Mephistopheles in ""La damnation de Faust"", and Gessler in ""Guillaume Tell"", and appears on the Metropolitan Opera's DVD presentations"
"Rosenkavalier"", Micaela in Bizet's ""Carmen"", Melisande in Debussy's ""Pelléas et Mélisande"", Minnie in Puccini's ""La fanciulla del West"", both Mimi and Musetta in Puccini's ""La bohème"", Nedda in Leoncavallo's ""Pagliacci"", Norina in Donizetti's ""Don Pasquale"", Olympia in Offenbach's ""The Tales of Hoffmann"", Rosina in Rossini's ""The Barber of Seville"", Sieglinde in ""Die Walküre"", Violetta in Verdi's ""La traviata"", the Woman in Poulenc's ""La voix humaine"", Zdenka in Strauss's ""Arabella"", and the title roles in ""Aida"", ""L'incoronazione di Poppea"", ""The Cunning Little Vixen"", ""Jenůfa"", ""Lulu"", ""Káťa Kabanová"", ""Madama Butterfly"", ""Salome"", and ""Tosca"". In the production of Wagner's ""Der Ring des Nibelungen"""
"sixty roles in numerous major opera houses around the world. Highly regarded as a lyric baritone for his many major roles in that repertoire, he became famous for his performance of the eponymous role in Ambroise Thomas' ""Hamlet"", in Copenhagen, Trieste and Geneva, as well as of Mercutio (""Roméo et Juliette"") in Cincinnati, Orange and Tokyo. He also sang the role of Valentin (""Faust"") a great many times over his career, namely in Turin, Madrid, Monte-Carlo, as well as Orange in August 2008. More recently, he sang the role of Albert (""Werther"") in the Théatre de la Monnaie in Brussels."
"Domenico Cimarosa at the Palacio de Bellas Artes in November of that same year. In 1947 Cancino de Cuevas sang the lead role of Gioachino Rossini's ""La Cenerentola"" at the Palacio de Bellas Artes, under the baton of Umberto Mugnai. In the Beethoven room of the Hotel Reforma she presented violinist Jeanne Court and the singers Lorenzo Canno and Alfred Knopf. In successive years she presented complete operas with costumes and set design at private functions as part of her opera dissemination activities. Among them were the 1962 Mexican run of Rossini's ""L'italiana in Algeri"", where she played the main"
"Teatro La Fenice in Venice. Other notable roles included Pedrillo in ""Die Entfuhrung aus dem Serail"", Tamino in ""Die Zauberflöte"", Almaviva in ""Il barbiere di Siviglia"", Nemorino in ""L'elisir d'amore"", Ernesto in ""Don Pasquale"", Cassio in ""Otello"", Fenton in ""Falsaff"", Feliperto in ""I quatro rusteghi"". He was also admired in Bach's and Haydn's oratorios, and in Lieder recitals. Later in life, he worked as a teacher at the Milan Conservatory. He died in Milan at the age of 71. Petre Munteanu Petre Munteanu (26 November 1916 - 18 July 1988) was a Romanian operatic tenor particularly associated with Mozart and"
"well as the existing ""bel canto"" operatic repertoire, with exemplary style and technical skill. Giraldoni was married to the well-known soprano and violinist Carolina Ferni. Their son, Eugenio Giraldoni (1870–1924), became a leading baritone like his father. In Rome in 1900, Eugenio created the role of Baron Scarpia in Puccini's ""Tosca"". Leone Giraldoni Leone Giraldoni (born 4 July 1824, Paris – died 19 September 1897, Moscow) was a celebrated Italian operatic baritone. He created the title roles of Gaetano Donizetti's ""Il duca d'Alba"" (1882) and Verdi's ""Simon Boccanegra"" (1857) as well as the role of Renato in Verdi's ""Un ballo"
"Danilo Danilovitsch in Franz Lehár's ""The Merry Widow"", Escamillo in Georges Bizet's ""Carmen"", Figaro in Gioachino Rossini's ""The Barber of Seville"", Golaud in Claude Debussy's ""Pelléas et Mélisande"", Guglielmo in Mozart's ""Così fan tutte"", the Lord Duke of Nottingham in Donizetti's ""Roberto Devereux"", Iago in Verdi's ""Otello"", Mojmír in Eugen Suchoň's ""King Svätopluk"", Rodrigue in Verdi's ""Don Carlos"", Scarpia in Puccini's ""Tosca"", Sharpless in Puccini's ""Madama Butterfly"", Valentín in Charles Gounod's ""Faust"", Wolfram in Richard Wagner's ""Tannhäuser"", and the title roles in Peter Ilyich Tchaikovsky's ""Eugene Onegin"", Mozart's ""Don Giovanni"", Verdi's ""Falstaff"", Verdi's ""Nabucco"", and Verdi's ""Rigoletto"" among other parts."