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Julien Benhamou / OnP

Julien Benhamou / OnP

Opera

La Cenerentola

Gioacchino Rossini

Palais Garnier

from 03 June to 11 July 2026

from €50 to €220

3h10 with 1 interval

Opera

La Cenerentola

13 performances

3h10 with 1 interval

Up to -20% on this show.

03

Wednesday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
06

Saturday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
09

Tuesday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
11

Thursday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
14

Sunday June

2:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
17

Wednesday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
19

Friday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
26

Friday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
29

Monday June

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
02

Thursday July

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
05

Sunday July

2:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
08

Wednesday July

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €
11

Saturday July

7:30 pm

  • Optima 220 €
  • Cat. 1 200 €
  • Cat. 2 168 €
  • Cat. 3 95 €
  • Cat. 4 50 €
  • Cat. 5 25 €

Synopsis

Listen to the synopsis

0:00 / 0:00

Once upon a time, there was... the story of Cinderella. But a Cinderella without fairies, pumpkins or glass slippers. Gioacchino Rossini’s opera, based on a libretto by Jacopo Ferretti, is a far cry from Charles Perrault’s version!

Although stripped of supernatural elements, this work, created in 1817 for the Carnival of Rome, nonetheless delivers its store of magic. That of a sparkling score with irresistible tunes that Rossini composed in just 24 days, topping off this tour de force with a blend of virtuoso comedy and tender melancholy.

Director Guillaume Gallienne places the characters on the edge of a volcano ready to erupt, delicately underlining the halftones of this multi-faceted score.

Duration : 3h10 with 1 interval

Language : Italian

Surtitle : French / English

Show acts and characters

CHARACTERS

Don Ramiro: Prince of Salerno
Dandini: Equerry to the prince
Don Magnifico: Father of Clorinda and Tisbe
Angelina: ALIAS CINDERELLA - Don Magnifico’s step-daughter
Clorinda et Tisbe: Don Magnifico’s daughters
Alidoro: Philosopher, Don Ramiro’s private tutor  

First part

 Act 1
Angelina, alias Cenerentola (Cinderella), lives like a slave in the dilapidated palace of her stepfather Don Magnifico. Clorinda and Tisbe, her half-sisters are both obsessed by their own appearance and constantly make fun of her. One day, a stranger calls. It is Alidoro, who has come in search of charity. While Clorinda and Tisbe berate him, Angelina offers him something to drink. Soon thereafter, a chorus of men arrive to deliver an invitation from Prince Ramiro who is organising a ball to help him choose a wife. The news only serves to exacerbate Clorinda and Tisbe’s self-obsessed excitement. Don Magnifico storms out of his room furious at being awakened by the noise. He tells his two daughters about the dream he has just had and how all the symbolism it contains must be an augur of imminent glory.

Prince Ramiro arrives alone at Don Magnifico’s palace disguised as an equerry. He secretly observes the young ladies. Alidoro, his former tutor, has promised that he will find an ideal wife here. Angelina goes about her chores as usual and is startled when she notices him. The two young people are moved by their fortuitous encounter, but they are interrupted by the cries of Clorinda and Tisbe. Dandini, Ramiro’s equerry, who has assumed the guise of the Prince, makes a highly conspicuous entrance. The two sisters leave for the ball. Ramiro holds back Dandini to watch what transpires between Don Magnifico and Angelina, the young servant he likes so much. The latter is eager to go to the ball but Don Magnifico cruelly refuses to allow her to attend. Alidoro intervenes and declares that a third daughter lives in the palace and also has the right to attend the ball. Don Magnifico claims that his third daughter is dead. Angelina, now alone, is crushed by his words. Alidoro returns to reassure her and promises her that her future will be brighter.

At Ramiro’s palace, Dandini appoints Don Magnifico as head sommelier and reignites the hopes of Clorinda and Tisbe. The court chorus pretends to obey Don Magnifico who in his drunkenness begins issuing ridiculous orders to them. Clorinda and Tisbe stubbornly pursue the Prince in the hope of winning his heart. The latter announces that one of the sisters could become his wife and the other will marry his equerry. Appalled, the two sisters shower Ramiro with insults. The chorus heralds the arrival of a mysterious, veiled woman. Even wise Alidoro seems not to know her identity. The mysterious woman announces she will love the he who can demonstrate respect, love and kindness. Ramiro is immediately won over, as is Dandini who asks to see the face of the mysterious woman. He removes her veil and everyone is astounded by her beauty. Don Magnifico is dumbfounded at the sight of the mysterious woman who has a curious resemblance to Angelina. Before the assembly takes their leave to enjoy the banquet, we sense a fire smouldering beneath the rumbling earth and feel that a rude awakening may await them.  

Second part

Act 2
Don Magnifico awakens from his drunken stupor convinced that he will soon be in a position to wield power. Overcome with delusions of grandeur, he already imagines himself corruptly reigning and dispensing his favours to his flattering courtiers. Ramiro hides to observe the mysterious girl from the ball as she is assiduously wooed by Dandini, himself disguised as the Prince. She reveals to him that she has fallen in love with his equerry. Ramiro comes out from his hiding place. Before she runs away, the mysterious girl gives him one of her two bracelets as a token of her love and challenges him to find her. On the advice of Alidoro, Ramiro ends the roleplay and promises to find the mysterious beauty. Dandini, who has since re-assumed the identity of equerry must now face Don Magnifico who bombards him with questions to find out if he is going to marry Clorinda or Tisbe. Cultivating his own illusion, Don Magnifico already sees himself on the throne alongside Dandini.

When the latter finally reveals his true identity, a humiliated Don Magnifico is furious. Back at home in her role as a lowly servant, Angelina dreams of the equerry who may soon find her. Don Magnifico, Clorinda and Tisbe return in a foul mood and start picking on Angelina who bears a striking resemblance to the mysterious girl who torpedoed all their plans. A storm breaks out. Using the pretext of an overturned carriage, Ramiro enters Don Magnifico’s palace in search of shelter, accompanied by Dandini. Now recognised as the real Prince, he listens aloofly to the obsequious banter of Don Magnifico, Clorinda and Tisbe.

Then, thanks to the bracelet that she wears on her wrist, he finally recognises Angelina and realises that the bullied servant he met earlier that morning and the mysterious woman at the court are one and the same. The family unleash their fury on Angelina. Exasperated, Ramiro stands up in her defence and announces that she shall be his wife. Alidoro reveals the moral of the story to the two sisters. One reacts with unyielding disdain and the other with detached resignation. The chorus celebrates the marriage of Ramiro and Angelina. Forgetting all the insults and bullying, Angelina decides that forgiveness will be her vengeance. She ponders her fate and realises that her misfortune has been but a flash in the pan, nothing more than dream and diversion.  

Artists

Dramma giocoso in two acts (1817)

After Cinderella by Charles Perrault

Creative team

Cast

The Paris Opera Orchestra and Chorus

Media

LA CENERENTOLA by Gioacchino Rossini - TRAILER (english version)
LA CENERENTOLA by Gioacchino Rossini - TRAILER (english version)
  • Draw-me La Cenerentola

    Draw-me La Cenerentola

    Watch the video

  • Guillaume Gallienne directs La Cenerentola

    Guillaume Gallienne directs La Cenerentola

    Read the article

  • The volcano's daughter

    The volcano's daughter

    Watch the video

  • On the ashes of innocence

    On the ashes of innocence

    Read the article

  • An eruption in the making

    An eruption in the making

    Watch the video

Draw-me La Cenerentola

Watch the video

Understand the plot in 1 minute

1:41 min

Draw-me La Cenerentola

By Matthieu Pajot

Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale. 

Cinderella lives, nonetheless, in a closed and loveless world, under the yoke of the tyrant she protects. Beneath her goodness smoulders a fire to be unleashed by her encounter with the prince...

In this drama giocoso written for the Roman Carnival in 1871 in only 24 days, the young Rossini, with 19 operas to his name already, including Il barbiere di Siviglia, composed a jubilatory score with his famous “crescendi” that stoke up the dramatic tension.

Taking up this brilliant and highly contrasted score, Guillaume Gallienne delicately underlines its subtle shades, from sombre melancholy to burlesque.

© Elena Bauer / OnP

Guillaume Gallienne directs La Cenerentola

Read the article

In rehearsal

02 min

Guillaume Gallienne directs La Cenerentola

By Opéra national de Paris

When Stéphane Lissner asked Guillaume Gallienne to direct Rossini’s La Cenerentola, his initial reaction was to ask why he had chosen him. The director of the Paris Opera replied: “Because it’s about the family, it’s funny and it’s cruel.”

Actor, director and member of the Academie Française, Guillaume Gallienne directs his first opera with this production of La Cenerentola.

The photographer Éléna Bauer has captured the atmosphere of the production as it takes shape. Commentary by Guillaume Gallienne.


Guillaume Gallienne et Marie Lambert
Guillaume Gallienne et Marie Lambert © Elena Bauer / OnP

“Shortly after accepting the commission from the Paris Opera, Marie Lambert, my assistant, and I discussed Italian cinema. We evoked Riso Amaro, Anna Magnani, Ettore Scola and Brutti, sporchi e cattivi, Respiro and Valeria Golino …”

Guillaume Gallienne et Teresa Iervolino (Angelina)
Guillaume Gallienne et Teresa Iervolino (Angelina) © Elena Bauer / OnP

“Beaten and deprived of her name, Angelina can literally only smoulder in silence. In her stark misery, however, there is a fire threatening to blaze up. When I went to hear Teresa Iervolino in the role of Angelina in Palermo, she pleased me enormously: I said to myself that she could be that volcano.”

Teresa Iervolino (Angelina), Guillaume Gallienne, Alessio Arduini (Dandini)
Teresa Iervolino (Angelina), Guillaume Gallienne, Alessio Arduini (Dandini) © Elena Bauer / OnP

“How can the Prince and Angelina recognise each other? How can it be obvious that this is love at first sight? Angelina is emotionally handicapped because she has been starved of affection. And what of him? Where does his fragility come from? And what is his relationship with Dandini? Why does Alidoro call Angelina his daughter?"

Guillaume Gallienne et Alessio Arduini (Dandini)
Guillaume Gallienne et Alessio Arduini (Dandini) © Elena Bauer / OnP

“I’ve seen numerous versions of La Cenerentola. Very opera buffa productions. They didn’t really interest me. I had the impression that there was something else in the music. When I direct the singers, I tend to streamline enormously. When a performer says: ‘ I have the impression of not acting’, I say to him, ‘That means you’ve struck the right tone."

© Eléna Bauer / Onp

The volcano's daughter

Watch the video

La Cenerentola by Guillaume Gallienne

3:26 min

The volcano's daughter

By Octave

Backstage with La Cenerentola in company with the stage director.

© Isabelle Debreuille

On the ashes of innocence

Read the article

Visit of the sets of La Cenerentola seen by Guillaume Gallienne

02 min

On the ashes of innocence

By Anne-Claire Cieutat, Jo Fishley , BANDE A PART

Guillaume Gallienne directs Rossini's Cenerentola, exalting goodness, and opens the doors of the set. Visit in images and sounds. 

A big house of fire rises. It is dressed in a Pompeian fresco red, a beautiful rosso pompeiano shaded by browns and ochres that could well be the shades of the yellow of Naples from the lava of Vesuvius. Eric Ruf's set - the administrator of the Comédie Française has become a scenographer - erects this majestic house, a Neapolitan palace with a flamboyant mineral façade on a rugged bed of black lava and ashes.

La Cenerentola belongs to a consumed world, this volcanic Cinderella of Guillaume Gallienne celebrates the end of innocence, in a universe that has collapsed. This lost innocence is at the wedding with goodness. Cinderella is a young girl who loves and forgives, virtues that are missing in our time and that the director from the French department exalts.

This Cinderella of Italy, this Angelina of Rossini, hangs on our days its ideal benevolence. Light as the airy harp that plays her music, she has escaped in Guillaume Gallienne's Italian comedy, with its despicable and touching monsters, its boasts between frivolity and gravity, its joyful and cheerful creatures.

Here is a ball with a joyful story, a love story full of fantasy, which makes you want to believe in fairy tales and fairies. So much the worse if there is no good fairy, no slipper, no pumpkin, but a philosopher and a bracelet, we still find the evil sisters, the very young naive girl who goes from abused childhood to triumphant happiness, the decomposed family with its neuroses. It is no longer a tale, but its essential moral vibrates, goodness prevails over cruelty.








© Brigitte Enguerand

An eruption in the making

Watch the video

La Cenerentola by Eric Ruf

2:52 min

An eruption in the making

By Opéra national de Paris

Backstage with La Cenerentola in company with the scenographer.

  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • [EXTRAIT] LA CENERENTOLA by Gioacchino Rossini
  • La Cenerentola (Saison 22/23) - "Scegli La Sposa", Chœurs et Vito Priante (Dandini)

  • La Cenerentola (saison 22/23) - "Conciosiacosaché", Chœurs et Carlo Lepore (Don Magnifico)

  • La Cenerentola (saison 22/23) - "Parlar, Pensar Vorrei" (Ensemble)

  • La Cenerentola (saison 22/23)- "O Figlie Amabili", Chœurs Ensembles

  • La Cenerentola (saison 22/23)- Final acte I

  • La Cenerentola (saison 22/23)- Ouverture

Press

  • Back at the Palais Garnier, Rossini's La Cenerentola, directed by Guillaume Gallienne, enjoys a triumphant revival thanks to a new, attractive cast.

    Classicagenda, 2018
  • La Cenerentola, humble and touching at the Palais Garnier

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La Cenerentola


Watch online the recording from season 16/17 on Paris Opera Play!


starring Teresa Iervolino, Juan José De León, Maurizio Muraro, Chiara Skerath...

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Access and services

Palais Garnier

Place de l'Opéra

75009 Paris

Public transport

Underground Opéra (lignes 3, 7 et 8), Chaussée d’Antin (lignes 7 et 9), Madeleine (lignes 8 et 14), Auber (RER A)

Bus 20, 21, 27, 29, 32, 45, 52, 66, 68, 95, N15, N16

Calculate my route
Car park

Q-Park Edouard VII16 16, rue Bruno Coquatrix 75009 Paris

Book your parking spot
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If the frontispiece to the score of La Cenerentola calls the eponymous character Angelina, the heroine is systematically referred to as Cinderella in the libretto. Even so, it is the name Angelina that remains the most frequently used – and Jacopo Ferretti explained why in his memoirs. After initially wanting to call his opera Angiolina, ossia La bontà in trionfo, the librettist ran into trouble with the name Angiolina because certain self‑righteous souls saw in it the evocation of a notoriously licentious woman and famous at the time. Ferretti fired back, not without humour, that if the reference had been intentional, he would have been more inclined to call his opera Angiolina, ossia La civetteria in trionfo (The triumph of coquetry). And so angiolino (“little angel” in Italian) became Angelina.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Edouard VII. It is located at Rue Bruno Coquatrix 75009 Paris (in front of 23 Rue de Caumartin).

    BOOK YOUR PARKING PLACE.

At the Palais Garnier, buy €10 tickets for seats in the 6th category (very limited visibility, two tickets maximum per person) on the day of the performance at the Box offices.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Palais Garnier
  • Every day from 10 a.m. to 6:30 p.m. and until performances end
  • Get in from Place de l’Opéra or from within the theatre’s public areas
  • For more information: +33 1 53 43 03 97

Palais Garnier

Place de l'Opéra

75009 Paris

Public transport

Underground Opéra (lignes 3, 7 et 8), Chaussée d’Antin (lignes 7 et 9), Madeleine (lignes 8 et 14), Auber (RER A)

Bus 20, 21, 27, 29, 32, 45, 52, 66, 68, 95, N15, N16

Calculate my route
Car park

Q-Park Edouard VII16 16, rue Bruno Coquatrix 75009 Paris

Book your parking spot
super alt text
super alt text
super alt text
super alt text
super alt text

If the frontispiece to the score of La Cenerentola calls the eponymous character Angelina, the heroine is systematically referred to as Cinderella in the libretto. Even so, it is the name Angelina that remains the most frequently used – and Jacopo Ferretti explained why in his memoirs. After initially wanting to call his opera Angiolina, ossia La bontà in trionfo, the librettist ran into trouble with the name Angiolina because certain self‑righteous souls saw in it the evocation of a notoriously licentious woman and famous at the time. Ferretti fired back, not without humour, that if the reference had been intentional, he would have been more inclined to call his opera Angiolina, ossia La civetteria in trionfo (The triumph of coquetry). And so angiolino (“little angel” in Italian) became Angelina.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Edouard VII. It is located at Rue Bruno Coquatrix 75009 Paris (in front of 23 Rue de Caumartin).

    BOOK YOUR PARKING PLACE.

At the Palais Garnier, buy €10 tickets for seats in the 6th category (very limited visibility, two tickets maximum per person) on the day of the performance at the Box offices.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Palais Garnier
  • Every day from 10 a.m. to 6:30 p.m. and until performances end
  • Get in from Place de l’Opéra or from within the theatre’s public areas
  • For more information: +33 1 53 43 03 97

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La Cenerentola

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