Why couldn’t the story of Cinderella take place in the present day?
we will publish the new program for May and June in advance as soon as we know the opening date of the theaters and the conditions of their operation.
Thank you for your interest and we look forward to meeting you live.
All the box offices of the National Theatre are closed until further notice.
3 hours 5 minutes, 1 intermission 20 minutesLanguage
In Italian, subtitles in Czech, EnglishPremiere
January 21, 2016
There is not just one Cinderella. Her tale has been retold in a variety of versions throughout Europe and elsewhere in the world. The roots of the renowned fable for children and adults alike lie in ancient times. And in many cases it has not been rendered as a fairy tale teeming with magic and spells. The Italian composer Gioachino Rossini decided to present the Cinderella story as one that could well have happened. And why could it not happen in the present day? But don’t worry – you will not be deprived of the magic and spells!
The National Theatre Chorus and Orchestra
The opera’s libretto is based on Charles Perrault’s fairy tale Cendrillon, first published in 1697 within the collection Les Contes de ma Mère l'Oye. One of the most frequently performed works of Gioachino Rossini, a true master of the bel canto style, La Cenerentola premiered on 25 January 1817 at the Teatro Valle in Rome. Just like the other creators inspired by Perrault’s fable, Rossini interpreted the story of Cinderella in his own way, presenting a broad scale of situations, ranging from the moving to the comical, as well as rewarding types of characters and splendid musical numbers, one of the most famous being Cinderella’s aria “Nacqui all'affanno… Non più mesta”, a staple of many a world-renowned diva.
Our production, a singular and intriguing adaptation, was staged by the acclaimed Hungarian director and actor Enikő Eszenyi, who had previously created in Prague well-received productions of Shakespeare plays for the Estates Theatre (The Comedy of Errors, Much Ado About Nothing and A Midsummer Night’s Dream). She also acted in Robert Wilson’s 1914. The music was prepared by the young Czech conductor and composer Jan Kučera.
By their appearance, attire and behaviour, the audience is obliged to adhere to the accustomed practice expected from them when attending a theatre performance.