The truth is that the second production this season has not been one of the best views and hearings, but the cold reception of the public has been a surprise, at least for me. Few applause, very few, almost without time for all the singers and artists to be fired, all of a sudden coming down the curtain… As I say, it was not a good program, but anyone who goes up on stage deserves another attention.

Having said that, yes, the Cenerentola de Rossini needed another form. He had a curious scenography, I would dare to say imaginative, but, for some, poor. All the environments, round, were arranged with a wooden cube placed in the center of the stage. Valid. On the other hand, the original story is located in the seventeenth century, and in this case, as in many recent productions, it has passed to the present day, but without much logic. Polo players appear unjustified and, in short, that purpose of modernizing became a small disaster.

Musically, what will we say? José María lo Monaco is an important mezzo, but he did not have the opportunity to highlight at this stage. Either because of the acoustics, or because of the excess volume of the orchestra at many times (especially in the first act), we do not, after all, listen very much to poor Angelina. The same could be said of Edgardo Roch. Despite the attempts, his attempt was rather bleak. However, among all the difficulties, the low baritone Paolo Bordogna was able to overcome the problems of the acoustics and offer a brilliant interpretation. Really, the best of the program. He gave a clean voice, an elegant phrasing, and the interpretative grace and dexterity were obvious. The baritone Bruno de Simone made a Don Magnifico very well. And Marta Ubieta and Mª José Suárez, Clorinda and Tisbe worked effectively and comfortably.

The Bilbao Orkestra Sinfonikoa, directed by Antonello Allemandi, lacked a bit of delicacy without pressing the voices in which to highlight the singers. What a pity!