What has made Rossini and his librettist Jacopo Ferretti’s take on Cinderella survive on the opera stage for almost 200 years now is not only the universal archetype of the downtrodden girl who is redeemed by Prince Charming, nor its enchanting music: the absence of fairy-tale symbols like the pumpkin carriage and the glass shoe (barefoot ladies would have been too outrageous a sight on an Italian
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