City Lyric Opera presents the New York premiere of Viardot’s CINDERELLA, December 16-18



One of New York City’s most innovative opera companies, City Lyric Opera, has chosen Pauline Viardot’s Cinderella (Cinderella) to open the company’s sixth season.

Celebrating its New York premiere, Cinderella is an enchanting and accessible chamber opera that tells the beloved story of Charles PerraultCinderella fairy tale, with wit and imagination. For an ensemble of seven small choirs and an 11-piece chamber orchestra, CLO presents Peruvian soprano Shaina Martinez-Azzopardi (2021 Met Council semi-finalist) as Cinderella and tenor Nicholas Huff (Florida Grand Opera) in the role of the prince.

According to Megan Gillis, co-founder of City Lyric Opera, this is the company’s first live and in-person production since November 2019. “On behalf of the staff of City Lyric Opera, I cannot stress enough how much We are grateful to return to live performances and staging. Our all-female production team has been waiting for this day for a long time. Surprisingly, Viardot’s fully staged version of Cinderella has never been shared with New York audiences. We can’t wait to get back on stage with the resurrection of this opera gem. “

In retired Paris, Viardot presides over a salon where she writes compositions for the students. In 1904, at the age of 83, she premiered her last opera Cinderella. A work as light as a feather composed in an operetta style mixing musical numbers and dialogues, it was the perfect animation for a living room evening. The plot roughly follows that of Rossini’s opera with additional twists. Instead of a stepmother, this story features the stupid Baron de Pictordu, with his two conceited daughters, Maguelone and Armelinde, who are both after the prince. Cinderella early reads the story of a fairytale prince, and her father is revealed to be a former grocer with a dubious past.

CLO’s most recent production was an online performance of Weill and Brecht’s musical, The Threepenny Opera. Hailed for its groundbreaking adaptation, critics agreed it was a vivid manipulation of virtual life. “The inventive design team and the cast of Rigotti and CLO have delivered a fiery and honorable job. CLO achieved its ambitious goals with exuberance and technical bravery. “(News from the opera)



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