If someone asks what you can bring back a stage like a story so resabuda like the Cinderella, would

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Cinderella was released yesterday, the second opera of the season with music by Jules Massenet and text by Henri Cain based on the Brothers Grimm Cinderella. You can see the Gran Teatre del Liceu until 7 January.
Rarely is a history deeply rooted in the collective imagination of both large and small. It is possible that their origin, the world of stories, is one of the reasons. While Perrault's version mies of Cinderella, which is based the libretto, included a passage that no more oil which was popularized by the Disney factory cinema screens, the myth of Prince Charming who rescues damsels caring continues extending its tentacles from generation to generation and feeds the female subconscious fantasy to become the "chosen." Is its ability to be present in many generations references mies or whatever, this is an opera highly recommended to start the youngest in this genre, and begin taking advantage of the festive dates is a good bet cultural sharing family.
If someone asks what you can bring back a stage like a story so resabuda like the Cinderella, would get as many answers as artistic disciplines are implemented in an opera. For starters, the scenery, Barbara Limburg, is an ode to the story. In fact, the singers are in the book and the reading public can go to those walls that create different scenarios for action: now are the walls of the palace room or Cinderella or the ballroom, or balcony ... like the leaves of the same story instead of reading it, we see represented. Some of these scenes create an atmosphere of fantasy so that the public is trapped as a toddler.
Another mies element to highlight it, and is the costume (Laurent Pelly, in collaboration with Jean-Jacques Delmotte) that plays with colors mies (there is a constant mies presence of red and maroon mies color that contrasts dress Cinderella mies and Fairy Godmother of ...) and design models, which are well characterized thanks to each of the characters as if they were drawn in a story: it is remarkable the stepmother and stepsisters, who stereotypes play very well represented, but should also be placed in a separate point during the parade of all the candidates mies to access the prince.
The combination of scenery and costumes making their expectations about how certain aspects should be resolved as part of the lines of force of the story remain amply fulfilled. mies Some of these moments are the appearance of the carriage with horses including the choice of the future princess when all hope behind a door, making noise as if it were the first day of sales, about open mall. It is in this portal is solved so magnificently when the clock strikes twelve. mies Each of these scenes are full of lyricism (like the forest fairies or the appearance of the Fairy float made of books), but also a great sense of humor thanks to the characters so well sheathed in costumes characterize and relaxed in the game that have been able to create thanks also to an impeccable choreography, Laura Scozzi mies and making the audience laugh escaped him on more than one occasion as such at the time of 'try on the famous crystal shoe. And this, combined with a set of lights (Duane Schuler) just create a magical world that immerses us squarely in the fantasy of the story.
All these elements reinforce the most important point of the show: singing. Directed mies by Andrew Davis, the music of Jules Massenet leaves his melodic stamp from the beginning to the end of the opera. It is difficult to highlight a particular aria is the set of all the voices that make the opera Cendrillon caressing the ears and heart. Even so, highlight the duo of Prince (played mies by soprano Alice Coote) and Cinderella (Joyce DiDonato) in the first half. In the second part, there is a sublime mies moment, fleeting, but a heartbreaking intensity: it is time for a solo violin and continues