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Checking spines this morning I stopped at Cendrillon because of the recent passing of Gedda and that probably a decade after acquisition I had yet to hear this.
First of all, this 1979 CBS Masterworks supplants the Mehta Turandot as the benchmark of Opera recordings. Clarity of voices both solo and choral is unsurpassed. The balance between orchestra and singers is perfect. Soundstage and movement of the cast, likewise. Just a wonderful listening experience.
Nothing needs to be said about Frederica Von Stade and Nicolai Gedda. It would be interesting, though, to hear a Soprano Falcon sing Charming as long as she possesses an appropriate (according to Massenet) "physique du costume". Sorry, Montserrat!
The score could be enjoyed without the voices and I see from some Wiki-ing he was known as a "symphonist". Nothing wrong with an opera having great music. Was Verdi a lesser orchestrator?
Now why, in the year 1899, would the part of the Prince be cast as a woman? All I can find is that it was done "en travesti, foreshadowing Sophie-Octavian in Der Rosenkavalier" but nothing about the fashion or convention that motivated it. What do you experts say?
Follow Ups:
Cendrillon or Cinderella is one of the stories that is used every year in the British tradition of Pantomime. The tradition dates back through the Comedia del'Arte period to the 16th century.
One tradition in Pantomime is that the Principle Boy ( i.e. the romantic lead such as Prince Charming) is played by a woman, usually wearing tights or other revealing dress. Massenet seems to have picked up on this tradition.
NB: To "balance" this the older woman or women in Pantomimes are played by men ( the Pantomime Dame or Dames e.g. the Ugly Sisters in Cinderella) which is/are always played as a form of caricature in dress and makeup.
What's the problem?
Having a problem with suspension of belief in opera.
Poor thing.
"If people don't want to come, nothing will stop them" - Sol Hurok
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