La Cenerentola

Since her debut in Napoli in 1958 until her lasts representation of the role at the Paris Opera in 1977, Berganza’s Angelina has the moderation of the Countess Almaviva from Las Bodas, the extreme flair of Fiordiligi, and the fierce nobleness of Doña Ana. It's like Teresa, who never played this roles before, had found in Angelina the perfect mix of all of them.

On the other side, it breaks with the child condemned by her family and triumphant because of her kindness and fosters Angelina to a queen range, to a half way creature between the real and the fantasy.

Sergio Segalini.

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