| Sunday 10 January 2027 | 18:00 |
| Tuesday 12 January 2027 | 19:00 |
| Monday 25 January 2027 | 19:00 |
| Tuesday 16 February 2027 | 19:00 |
| Sunday 28 March 2027 | 17:00 |
| Thursday 01 April 2027 | 19:00 |
| Tuesday 13 April 2027 | 19:00 |
| Monday 26 April 2027 | 19:00 |
| Rossini, Gioachino (1792-1868) | La Cenerentola (Cinderella) | Libretto by Jacopo Ferretti |
| Staatsoper Stuttgart | |||
| Ramón Tebar | Conductor | ||
| Andrea Moses | Director | ||
| Susanne Gschwender | Set Designer | ||
| Werner Pick | Costume Designer | ||
| Reinhard Traub | Lighting Designer | ||
| Staatsorchester Stuttgart | |||
| Thomas Wieck | Dramaturgy | ||
| Moritz Lobeck | Dramaturgy | ||
| Staatsopernchor Stuttgart | |||
| Jeremy Bines | Choirmaster / chorus director | ||
| Itzeli del Rosario | Mezzo-soprano | Angelina (Cinderella) | |
| Lucio Gallo | Baritone | Don Magnifico | |
| Charles Sy | Tenor | Don Ramiro | 2027 Jan 10, 12, 25, Feb 16 |
| Alberto Robert | Tenor | Don Ramiro | 2027 Mar 28, Apr 01, 13, 26 |
| Jorge Ruvalcaba | Bass | Dandini, valet to Ramiro | 2027 Jan 10, 25, Feb 16, Mar 28, Apr 13, 26 |
| Cole Bellamy | Baritone | Dandini, valet to Ramiro | 2027 Jan 12, Apr 01 |
| Alma Ruoqi Sun | Soprano | Clorinda | 2027 Jan 10, Feb 16 |
| Luiza Willert | Soprano | Clorinda | 2027 Jan 12, 25, Mar 28, Apr 01, 13, 26 |
| Deanna Ray Eberhart von Fange | Mezzo-soprano | Tisbe | |
| Andrew Bogard | Bass | Alidoro |
“I don’t believe in the right to work; I consider it a person’s greatest right to do nothing,” said Rossini. Angelina, his Cinderella, is far from that – she performs slave labor in the household of her bankrupt stepfather. How a prince, for whom a bank account and an army of servants work, rescues her from this precarious situation is a fairy tale known worldwide, from Charles Perrault to Walt Disney. Rossini tells the story of the resilience of sincere feelings without the familiar elements of magic. But there is one great miracle after all: love at first sight. Not at the ball, but when the prince, disguised as a servant, inspects the potential brides in advance. Surrounding this is the madness of dreams of social advancement and scenarios of decline, which drives Rossini’s characters forward just as much as the frenzied energy of his music.
In Italian with German subtitles
There will be an introduction 45 minutes before the performance at the Upper Foyer (I. Rang).
