#Cendrillon opera

[monotonous-minutia]

you are my charming prince.

and if I could choose, I would choose you. Oh, how I wish I did not have to lose you the very moment that we met...

[garland-on-thy-brow]

My latest three saved pictures:

I love trouser roles a normal amount.

[infinitelytheheartexpands]

unfortunately for all of you i have remembered that this duet exists

[opera-ghosts]

May 24, 1899: At the Opéra-Comique, Paris finds the world premiere of the opera “Cendrillon” by Jules Massenet.

The title role sang Julia Guiraudon, which 5 years after this performance , the Henri Cain librettists of this opera got married.

Cain wrote several librettos for Jules Massenet and was also known as a painter.

[princesssarisa]

@simone-boccanegra, @notyouraveragejulie, @leporellian, @supercantaloupe, @ariel-seagull-wings

[siriusly-the-best-bi]

Alright lads went to see a production of the opera Cendrillon and imagine my surprise when the prince is played by a GIRL. A whole ass Beautiful woman, dressed as the prince singing a beautiful duet with Cendrillon herself.

I just need everyone to know that I am witnessing the classic Gay Wattpad Theater Kid Dream and it’s honestly tear jerking.

[chopinski-official]

Dobry wieczór. Since it’s International Women’s Day (albeit not strictly), tonight I would like to draw my followers’ attention to the female pianists and composers who were my contemporaries… Apologies for the lengthiness, evidently there is a lot to be covered.

Clara Schumann 1819-1896

A child prodigy, Clara was taught piano by her father and by thirteen he was taking her on concert tours.

She met Robert Schumann as a child when he came to Leipzig to study law at the university. He took piano lessons from Clara’s father, Friedrich Wieck. When she was 18, he proposed to her. They married in 1840.

The virtuoso went on tours with her husband and earn money by performing and teaching. She was also a gifted composer, however most of her time was spent looking after her family, editing Robert’s music and playing. Clara’s compositions include more than 20 piano works, a piano concerto, some chamber music and several songs.

Fanny Mendelssohn 1805–1847

Composer and pianist, Fanny grew up in Berlin, sharing the same musical education as her brother Felix, with whom she had a close relationship.

Her compositions include a piano trio, a piano quartet, an orchestral overture, four cantatas, more than 125 pieces for the piano and over 250 lieder, most of which were unpublished in her lifetime. Although lauded for her piano technique, she rarely gave public performances outside her family circle.

Owing to her family's reservations and to social conventions of the time about the roles of women, six of her songs were published under her brother's name in his Opus 8 and 9 collections.

Marie Moke 1811-1874

Marie Moke gave her first concert at the age of eight and by the age of fifteen, she was already known in Belgium, Austria, Germany and Russia as an accomplished virtuoso.

She married pianist and piano manufacturer, Camille Pleyel, but they later separated on account of her promiscuity. Heinrich Heine considered her among the greatest pianists “Thalberg is a king, Liszt a prophet, Chopin a poet, Herz an advocate, Kalkbrenner a minstrel, Mme Pleyel a sibyl, and Döhler a pianist.”

Later on, she created the piano school at the Royal Conservatory in Brussels where she taught from 1848 to 1872.

Louise Farrenc 1804-1875

A French composer, virtuoso pianist and teacher, she started playing young and had piano lessons with famous teachers such as Moscheles and Hummel. She studied composition privately with Anton Reicha at the Paris Conservatoire, unable to go to composition classes as a woman. By the 1820s she was touring France, giving concerts.

In 1842 she was made Professor of Piano at the Paris Conservatoire where she stayed for 30 years. For a decade she was paid less than the male teachers. Only after the triumphant premiere of her nonet did she demand and receive equal pay. She wrote a wide variety of piano music, but her chamber pieces are considered to be her best work.

Pauline Viardot 1821-1910

From a musical family (including her older sister, Maria Malibran) Pauline was trained by her father on the piano and in singing.

In her youth she took piano lessons with Franz Liszt and counterpoint and harmony classes with Anton Reicha. However, despite wanting to become a concert pianist, she was directed towards singing by her mother.

Pauline began composing when she was young, but it was never her intention to become a composer. Written mainly as private pieces for her students, her works were still of professional quality and Franz Liszt declared that, with Pauline Viardot, the world had finally found a woman composer of genius. Compositions include her chamber operas Le dernier sorcier and Cendrillon.

Arabella Goddard 1836–1922

Born in France to English parents, at age six Arabella was sent to Paris to study with Friedrich Kalkbrenner. Aged seven she played for myself and George much to our pleasure.

During the 1848 Revolution her family had to return to England; there, Arabella had further lessons with Lucy Anderson and Sigismond Thalberg. She was known for her ability to play recitals from memory.

Arabella was appointed a teacher at the Royal College of Music in 1883. This was the RCM’s first year of operation and Arabella was its first female professor. She composed a small number of piano pieces, including a suite of six waltzes.

Marcelina Czartoryska 1817-1894

Born into the aristocratic Polish family, the Radziwiłłs, Marcelina was taught piano by Carl Czerny in Vienna and by myself in Paris. She gave concerts across Europe, with Franz Liszt, Pauline Viardot and Henri Vieuxtemps.

From 1870 she lived in Kraków, where she gave mainly private concerts and, thanks to her artistic connections, contributed to founding Kraków’s Academy of Music in 1888.

Maria Kalergis 1822-1874

Raised in Saint Petersburg in the home of her paternal uncle, the Tsar's minister of foreign affairs, Maria received a thorough education where she evinced an early musical talent.

She was a student of mine and held salons in Paris whose guests included Liszt, Richard Wagner, de Musset, Gautier and Heine. Later, she became a hostess and a patron of the arts in Warsaw.

She was a co-founder of the Warsaw Musical Institute, now the Warsaw Conservatory and established the Warsaw Musical Society, now the Warsaw Philharmonic. Between 1857 and 1871 she made frequent appearances as a pianist.

On her death, Franz Liszt wrote his Elegy on Marie Kalergi.

[fairytale-poll]

ROUND 3C, MATCH 3 OUT OF 4!

Propaganda Under the Cut:

Saki:

Psychic goth girl who was cast as Cinderella in a school play. The play was so poorly cast overall that the entire script had to be rewritten, thus “Cinderella-ish” was born. Hanajima played a Cinderella dressed in all black, and when confronted by the fairy godmother, she simply wished for meat.

idk if this is what you meant by 'acting' as Cinderella but in-universe she got cast as Cinderella in the school play, and the characters ended up re-writing the entire play to work around her because she was too Goth and disinterested to play a classic Cinderella character.

She plays the best version of Cinderella. All she cared about was going to the ball for the barbecue. The episode she's in is a really good one as well.

Overall Saki is not a Cinderella character, but you did say we could submit them if they were Cinderella in an in-universe play, and that she was! In Season 2 Episode 23 "It's Cinderella-ish", her class puts on a production of Cinderella and she ends up getting cast as the titular role, which a lot of other characters think is crazy because she's this straight-faced, emotionally-repressed, exclusively-wears-black kinda girl. Also her best friend Tohru (the anime's protagonist) gets cast as an evil stepsister, and she's one of the sweetest people ever and has so much trouble being mean to Saki even fakely and vice versa. Of course, Saki has no problems being rude to the Prince Charming character in the play, played by Kyo, a guy who's sweet deep down (but only to Tohru and his adoptive father) but is other wise a hot head who's always getting into fights. So between Saki as Cinderella having a genuine love for her stepsister and a general animosity with the prince, in addition to the fact that when she goes to the ball, all she wants to do is eat, not mingle, she makes for a very interesting Cinderella.

so this shoujo series has a storyline where the class puts on a Cinderella play but instead of the heroine playing Cinderella, shenanigans happen that lead to the heroine's goth best friend, Saki Hanajima, aka Hana-chan, aka Demon Queen, playing the lead role. Hana-chan's Cinderella dresses in all black against the wishes of the play's director, does not give 2 shits about the prince, and is just a general menace to society. I know she's probably not gonna win but I just wanted to share her with all of you bc I love her and the Cinderella-ish arc is to this day some of the funniest shit I've seen in a manga

their high school class decided to randomize who played which characters in their production of Cinderella & the creepy goth girl got cast as Cinderella & her painfully kind-hearted bestie got cast as the evil stepsister (among other mismatched roles) so they rewrote the play into "Sorta Cinderella" & Cinderella became a deadpan, lazy girl who only wants the best for her darling step-sister & who only went to the ball for the food.  in the end, instead of marrying the prince she takes his money & opens a restaurant with her sister & I love that for them <3

Cendrillon:

[Mod's Note: Warning for Persona 5 spoilers]

Her Persona is Cinderella. Her story is about disguising herself as another person to gain acceptance.

Her persona is Cendrillon, the French name for Cinderella and the name of an opera based on the story, and it mirrors her arc in the game. When you boil her down to the essentials, she essentially made a wish that was granted by her....... fairy godtherapist to go from pauper (bland and talentless depressed Sumire) to princess (her dead sister Kasumi, bubbly, personable star gymnast). As far as she sees it, even, it's this transformation that helps her 'get the prince' (read: befriend the protagonist). Why should she win, though? Umm because she's my baby my angel my sweetie my cherub specialist character in fiction and most important girl in the universe. Out of love in your heart for me, tumblr user [REDACTED], vote for her.

GOD I LOVE HER SO MUCH ok ok ok everyone here's my autism. Major spoilers as you get closer to the end btw! - She has three personas, in order they go: Cendrion, Vanadis, Ella. The first and last are taken from Cinderella, with Cendrion being the german name for Cinderella, and of course Ella just being a shortened form of Cinderella. - She does gymnastics, although a lot of her phantom thief design is heavily based off of ballet as well! In particular the black swan mimicking the white swan, and while of course that's not cinderella, it does remind me of how Cinderella was treated in the beginnings of the story - Cinderella and her both have major sibling trauma! It's a huge point about her character. Major spoilers, but she pretends to be her older sister Kasumi for most of the game; the sad truth is that she's in fact the younger sister Sumire. She's pretending to be her older sister because she can't deal with the trauma of that day she ran out into traffic and her sister got hit instead of her. (It does not help that her therapist uses eldritch god powers to gaslight her into thinking she is her sister.) - They're both pretty and also I love sumi so much she's everything to me. unironically the character of all time NOT FOR PROPAGANDA but for mod: image because it can be awkward to find one: https://i.ytimg.com/vi/UyOsg26GnZU/maxresdefault.jpg also!!!! if you're interested in not potentially spoiling people you should call her Kasumi Yoshizawa. If you aren't worried about that though and want to be accurate, Sumire Yoshizawa is better. Or just call her Violet because that's her codename!

Initially introduced as Kasumi, she is a dorky and sweet first-year student who looks up to the protagonist as a mentor and eventually joins the Phantom Thieves in figuring out the fake reality they're trapped in. However, it's revealed that she's actually Kasumi's sister Sumire, who was always stuck in her more talented sister's shadow and yearned to be Kasumi. Unfortunately, she got her wish when her sister died saving her and her therapist brainwashed her into believing herself to be Kasumi. With help from the protagonist, Sumire realizes she was holding herself back and breaks free from her false identity, embracing her true self and rebelling against the hollow utopia. Her initial Persona--an embodiment of her true self--is Cendrillon, and her third tier ultimate Persona is Ella.

Sumire dosen't just pretends to be her dead sister, she was brainwashed into believing to be her by the final act's main villain/her fairy godfather figure, because that was her (misguided by trauma) wish as she believed that her sister was better than her. The final acts has a lot of 'making wishes come true' theme that connects her to Cinderella even more, also she does have a bit of 'save by the prince' thing going on with the game's protagonist

Please please vote my girl!!

Sumire is such a cute and cool character and deserves to leave the life of cinders how the fandom treats her and be a shiny princess!!

[smolstarthief]

In the Opera Cendrillon her father says very early on “Weep for me, Philemon.”

This could be indicative of The Yoshizawas having some sort of knowledge of or connection to Philemon the true master of The Velvet Room.

Unfortunately ,Atlus has done exactly nothing with this and probably never will.

I can't really say on this one other than it being an interesting fact about the opera sadly. I guess it would have been another neat thing for Atlus to add but idk, maybe the twins not having ties to Philemon works better for me (though Philemon being the reason Kasumi's spirit was able to fuse with Cendrillon I can see being a thing possibly).

[notenderhands]

hi! I'm anny! I saw that you reblogged one of my posts from one of my blogs (im sure you don't know this, but I'm @jenwl and @icorhos, formerly estoedn) and you asked what is 'the daughter of cinder' au, and I wasn't sure if I could make an entire separate post about it just yet considering I haven't done much building.

It was based on an ask I received on one of my blogs and it went 'medwin cendrillon au' and I went 'yes' and cendrillon is essentially the tale of cinderella (not sure if it the original tale of cinderella but I think so considering the original opera/fairytale was in the 1600's)

I have a very vague outline of the story, but if you ask me about it, I would love to elaborate!!

also, love fragile chains!! do what you love, Lleu!!

Hi! I love your moodboards! They are so pretty! I would love to hear more, that sounds so interesting! Thank you so much!

What are you thinking for the au? Is Goewin Cinderella or Medraut?

[monotonous-minutia]

Cendrillon (Chicago Summer Opera, 2022), Acts III & IV

she's so tired and scared but still feels she needs to be cleaning :(

this aria!! I always feel like I'm right there with her

go off Pandolfe

the audience started clapping when he chases them off

actually good opera dad

this is such a cool effect

yay forest scene!

pretty!!

pure diva magic

gay subtitles I keep watching this like "is this real life"

her locket is the heart

i can't handle this!!!!

they both fell asleep on the ground and then the fairies led the princess away during the scene change. always wondered how (story-wise) they'd get separated.

fairy godmother takes one look back...

poor Lucette

back to the ball!!

she has the locket!

princess lineup

don't give up!!

she's here!!

so lovely!!

lookit them holding hands <3

a servant drags stepmom away and Pandolfe is happy lol

together forever at last!

happily ever after <3

omg this was so cute. they managed to make it shorter without cutting any major scenes; missed some choruses and ballets, but nothing super jarring. I got both my favorite duets!

Obviously I love that it's two ladies in love and I wish I wasn't shocked about it being portrayed onstage especially this having been performed in 2022. However I will admit there is something to be said about those trouser mezzos in their pants suits. They both give me feels in different and similar and lovely ways.

overall this is so charming and magical I loved it so much. HOWEVER I cannot believe they didn't let the divas kiss. I mean. come on.

[garland-on-thy-brow]

I am halfway through this lovely digital-themed production of Cendrillon (Promfest 2023). Part of the action happens on Instagram and the love duet is in a messenger. 

Enjoying it!

Part 1, part 2.

CW for flashing in some scenes of part 1 (starting at 40 minutes, last occurrence if I am not mistaken at 52); there is also some electronic music (which i found irritating) in the same scenes. If you are sensitive to this, please be cautious.

I have not watched part 2 yet, so just be aware that similar CWs might be applicable.

[nablah]

[ID: A meme featuring 3 operas by Jules Massenet. The first is Werther, with the words "Regular Couple", then Don Quichotte, with the words "Yaoi Couple", then Cendrillon, with the words "Yuri Couple". The last image is of Jules Massenet with the words "I see no difference, Love is Love" /end]

[infinitelytheheartexpands]

joyeux anniversaire, cendrillon!

[opera-ghosts]

On May 24. 1899 the Opera „Cendrillon“ from Jules Massenet was first time performed.

This was in Paris. Here we see the rewiew of this premiere in the Magazin „Le Théatre“ from July 1899.

[princesssarisa]

The Most Common Types of Fairy Godmother in "Cinderella" Adaptations

Since @ariel-seagull-wings and I have already posted about the different portrayals of Cinderella and her prince, I thought it might be nice to look at the different portrayals of the other characters too.

Each portrayal of the Fairy Godmother is unique, but patterns do emerge across the different adaptations. I've found that the different portrayals of the character can be divided into five categories, with some portrayals combining two of them together.

The Regal, Ethereal Lady

This beautiful, elegant creature is emphatically a fairy godmother, not a godmother who happens to be a fairy. She wears a gorgeous flowing gown, not of any earthly fashion, and though her age is indeterminate, she seems youthful yet wise. Her demeanor is kind and gentle, yet serious and stately, though she might have a slight playful streak. She takes on the role of the story’s moral authority as well, usually emphasizing that she comes to reward Cinderella for her goodness. Often, she first appears disguised as an old beggar woman to test the respective virtue of Cinderella and her stepfamily, and Cinderella earns her good will by giving her bread while the stepfamily scorns her. Sometimes she has attendant fairies or other magic-users to assist her as well: she might even be portrayed as the Fairy Queen, who lives in the forest like Shakespeare’s Titania and has countless fairies, elves, and sprites as her command. Fairy Godmothers of this type are most often seen in earlier adaptations: they include “La Fée” in Massenet’s opera Cendrillon, the Fairy Godmother in Prokofiev’s ballet, Inez Marcel in the 1914 silent film, Varvara Myasnikova in the 1947 Russian film, Celeste Holm in the 1965 version of Rodgers and Hammerstein’s musical, and the animated Fairy Godmothers both in the 1935 Betty Boop cartoon Poor Cinderella and in the 1979 Russian animated short.

The Grandmother Figure

This Fairy Godmother is a little old woman, and she’s very human as fairies go. She might not be regal, or beautiful, but she radiates a sense of warmth and comfort like all the best grandmothers do. Her sweetness, gentleness, and maternal affection are just what Cinderella needs in her despair, and sometimes she can be adorably absentminded – forgetting where she put her wand, almost sending Cinderella off to the ball in her rags, etc. – which adds gentle comic relief to the story. Yet she also conveys the wisdom that comes with age, and her magic is just as powerful as that of any younger, more glittering fairy. The quintessential Fairy Godmother of this type is the one voiced by Verna Felton in Disney’s classic 1950 animated film. Several other animated versions aimed at children feature grandmotherly Godmothers too, like the versions from Jetlag Productions and Burbank Animation Studios. In the 1995 musical A Tale of Cinderella, “La Stella” is Cinderella’s actual grandmother, whose magic sadly couldn’t save her daughter’s life, but can save her granddaughter’s future. Jean Stapleton’s Fairy Godmother in the 1985 Faerie Tale Theatre adaptation is also very grandmotherly, although she has additional glamour and a sense of humor that bring her closer to the next type of Fairy Godmother on the list (see below).

The Sassy Glamour Queen

She’s beautiful, she’s elegant, she’s as smart as a whip, and she knows it! This is a more modern, lighthearted twist on the Regal, Ethereal Lady. The sparkle of the gorgeous gown she wears is matched only by the sparkle of her playful wit, and her confidence in herself is surpassed only by her confidence in Cinderella. Her sense of humor lifts Cinderella’s spirit, while her intelligence, poise, and indefatigable spirit make her a strong role model for the girl. Yet though kind and caring, this Godmother tends to be a bit more standoffish than others – though not in a bad way. She urges Cinderella to solve her own problems, not just rely on her, and to have courage and faith in herself against all odds. The most famous Godmother of this type is probably Whitney Houston in the 1997 version of Rodgers and Hammerstein’s musical. But Edie Adams’ elegant and mischievous Godmother in the original 1957 Rodgers and Hammerstein telecast is a good example too: although since she spends most of the story masquerading as a human, she combines this portrayal with another type (see the bottom of the list). Meanwhile, Jean Stapleton’s Faerie Tale Theatre Godmother has the elegance and humor of this type, but as an elderly woman, she combines it with the Grandmother Figure. Last, but not least, is Billy Porter’s nonbinary “Fab G.” in the 2021 Sony/Amazon musical.

The Eccentric Mage

This funny and kooky Godmother is one of those beings who combine magic with just a little insanity. Her mind is like her powers: not entirely of this earth. Like the Regal, Ethereal Lady, she tends to disguise herself as a poor, ragged old woman to test Cinderella’s virtue and befriend her before the ball – but she takes it a step further and masquerades as a crazy homeless woman, who spouts odd remarks and whom anyone less kind than Cinderella might try to avoid. Yet even when not in disguise, she’s a bit of a ditzy oddball, who sometimes fumbles her spells once or twice before she gets them right: e.g. dressing Cinderella in the wrong type of clothing at first, or turning the pumpkin into the wrong item, or accidentally making it grow to a gigantic, greenhouse-shattering size before it becomes a coach. Fairy Godmothers of this type include Helena Bonham Carter in Disney’s 2015 live action film, “Crazy Marie” in the 2013 Broadway version of Rodgers and Hammerstein’s musical, Joyce Gordon in the Muppets’ Hey, Cinderella! and Estelle Winwood as Mrs. Toquet in The Glass Slipper. Although since Mrs. Toquet never takes off her “crazy poor woman” disguise, she combines this variant with another one: The Godmother Who Happens to Be a Fairy (see below).

The Godmother Who Happens to Be a Fairy

This is the most human portrayal of the Fairy Godmother: an ordinary woman who just happens to have magical powers, which she hides until they’re needed. Cinderella typically befriends her long before the ball, sometimes knowing her from childhood. She might be a household servant, or a kindly neighbor, or a traveling portrait painter, but whoever she is, you wouldn’t guess that she’s a fairy. She might even pretend not to believe in magic. She might also be Cinderella’s literal godmother – a close friend of her late mother’s, or even a relative. But no matter who she is, the friendship and the simple, human advice she gives to Cinderella (e.g. never to lose hope, or not to be afraid to love the Prince) are just as valuable as her spells. Edie Adams’ mischievous Godmother combines this characterization with the Sassy Glamour Queen in the 1957 Rodgers and Hammerstein musical, Estelle Winwood’s Mrs. Toquet in The Glass Slipper combines it with the Eccentric Mage, and Annette Crosbie’s sensible and ladylike yet quirky Godmother in The Slipper and the Rose combines it slightly with the Eccentric Mage too. Other examples are the artist Paulette in the anime series Cinderella Monogatari, the cook Mandy in the original novel of Ella Enchanted (who is also the Grandmother Figure), and the pasta-stirring grandmother La Stella in the musical A Tale of Cinderella (ditto).

@ariel-seagull-wings, @thealmightyemprex, @adarkrainbow, @themousefromfantasyland, @faintingheroine, @angelixgutz, @softlytowardthesun, @amalthea9