Merriment Abounds in Rossini’s ‘Cenerentola’

Outrageous. Skewered. Funny--very funny. Los Angeles Opera followed its lavish “Aida� last week with a timelessly updated, often hilarious, sunny new production of Rossini’s “Cinderella.�

This “Cenerentola� is in Italian, of course, but its locale has no national boundaries. The brightly colored production--unveiled for the first time Friday night in the Dorothy Chandler Pavilion--is as universal as a Road Runner cartoon and as breathlessly paced.

Thor Steingraber, last seen here as the director of Bellini’s tragic “The Capulets and the Montagues,� a year ago, brings another sensibility entirely to Rossini’s light comedy. With the witty, visually striking pastel sets of Riccardo Hernandez and the equally eye-grabbing, joyously mocking costumes of Joel Berlin, Steingraber assaults the observer with consistently silly yet never over-the-top comic maneuvers.

True, the stepsisters emerge one-dimensional as characters, though hilarious ones, and Don Magnifico seldom leaves off being a boob. The cost of constant merriment is levied with stereotypes--the excellent men’s chorus never stops impersonating a hyperactive college glee club, for instance--but the hilarity does roll on.

In fact, it only stops when the star of the show, Angelina, reveals her virtues and goodness. Jennifer Larmore, the beauteous American mezzo-soprano, may represent casting too appropriate for this role.

For all her virtuoso singing, mellow, golden tones and angelic air, both Angelina and Larmore--should we blame Rossini?--are too good, and too ideal, to be true.

In the final scene, for example, reality demands some anger from Angelina, some vendetta or punishment from the wronged orphan girl toward her dysfunctional family. That it never happens has always been the weakness in this particular work.

Of course, one must admire Larmore’s burnished, even sound, her ability to throw around roulades and scales with ease, her unblemished good looks. Ultimately, however, one keeps wondering why all this virtue is boring.

Larmore is surrounded in this cast by a wonderful group of resourceful comedians and able, if not in every moment virtuosic, singers.

Simone Alaimo sings and acts Don Magnifico with detailed musicality and comic assurance. Rodney Gilfry, with an Elvis hairdo and a perfect Elvis stance, delivers Dandini’s comedy without overdoing.

Kurt Streit is a dry-voiced but handsome Prince, ever regal. Richard Bernstein’s elegant singing understates Alidoro’s command perfectly. Shana Blake Hill and Cynthia Jansen are expert clowns, though vocally underpowered, as Clorinda and Tisbe.

In the pit, conductor Gabriele Ferro keeps the pace under control and the splendid orchestra in balance.

*

Los Angeles Opera presents Rossini’s “La Cenerentola� (Cinderella) in Italian, with English supertitles, at the Dorothy Chandler Pavilion, 135 N. Grand Ave., Tuesday, Saturday and Sept. 19, 22 and 24 at 7:30 p.m. $28-$148. (213) 365-3500.