Cendrillon, Cenerentola, and Agatina: The Plot Structure and Composition in the Operas by Nicolò Izouard, Gioachino Rossini and Stefano Pavesi
Abstract
The object of the present article is to compare the librettos of three operas: Cendrillon by Nicolò Izouard, La Cenerentola ossia La bontà in trionfo by Gioachino Rossini and Agatina o la Virtù premiata by Stefano Pavesi. In research works written outside of Russia (there have not been any studies of this subject undertaken in Russian, as of yet), it is customary to pay more attention to the relationship between Rossini’s oeuvre and the second opera of those enumerated, while the first is usually mentioned only as the predecessor of both works and one of the sources of the libretto. Indeed, the author of the text of Rossini’s opera, Jacopo Ferretti, most likely derived his ideas from Agatina. However, this does not detract our attention in any way from the role that Izouard’s Cendrillon played in the emergence of its Italian namesake. The article is the first to compare the librettos of all three of these operas, making it possible for us to understand better the connections between them and to identify their dissimilitudes arising as the result of the differences between the French and the Italian traditions, as well as the individual features of the creators of the libretto and the music.
Keywords: Cinderella in opera, Cendrillon by Nicolò Isouard, La Cenerentola ossia La bontà in trionfo by Gioachino Rossini, Agatina o la Virtù premiata by Stefano Pavesi, early 19th century, French opera, Italian opera, plotline, Charles-Guillaume Etienne, Francesco Fiorini, Jacopo Ferretti, similarities and differences in the opera librettosFull Text:
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DOI: http://dx.doi.org/10.56620/RM.2024.4.055-068
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