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Cinderella and Company: Backstage at the Opera with Cecilia Bartoli (edition 1999)
Cinderella and Company: Backstage at the Opera with Cecilia Bartoli by Manuela Hoelterhoff
References to this work on external resources.
Wikipedia in English
Amazon.com Amazon.com Review (ISBN 0679444793, Hardcover)The author defines her style at the beginning of this bright, gossipy book about one of opera's youngest superstars. Manuela Hoelterhoff starts off by discussing Rossini's Cinderella opera, La Cenerentola, which she then uses as a recurring metaphor throughout the book. Her description is accurate when she calls it "music that dances, whispers, charms and dazzles from beginning to end." But if one substitutes "prose" for "music" in that quote, she might well be writing about Cinderella & Company.
Hoelterhoff's style is deliciously appropriate for her chosen subject, the world of mezzo-soprano Cecilia Bartoli. It is even more suited to the story's background: the larger-than-life style of the world's great opera houses and the colorful personalities of many people found there--onstage, backstage, and even in the audience. In terms of eccentricity, Bartoli does not stand out; she has a fair share of phobias (flying, computers, microphones), and she cancels performances more frequently than her fans would like, but her primary interest is musical: a voice, not very powerful but beautiful, which she uses with a fine sense of bel canto style, considerable acting skill, and a careful choice of the right music.
Much of the book's appeal lies in its descriptions of people, which tend to be short, pungent, and devastatingly on target: Maria Callas, "the queen of whatever opera company she wasn't feuding with"; conductor Herbert von Karajan, who "had a reputation, entirely deserved, as a voice killer"; baritone Bryn Terfel, "a guy with the body of Meat Loaf and an exuberant performing style"; agent-publicist Herbert Breslin, "a motor-mouthed, bullet-headed ... egomaniac ... I used to go through the obituary section of the Times looking for his"; Luciano Pavarotti, a "crumbling monument"; and lots more. --Joe McLellan
(retrieved from Amazon Thu, 12 Mar 2015 18:17:45 -0400)
A wickedly funny look at opera today - the feuds and deals, maestros and managers, divine voices and outsized egos - and a portrait of the opera world's newest superstar at a formative point in her life and career. In Cinderella & Company, Pulitzer Prize-winning journalist Manuela Hoelterhoff takes us on a two-year trip on the circuit with Cecilia Bartoli, the young mezzo-soprano who has captured an adoring public around the world. Here too are tantalizing glimpses of divinities large and small: Kathleen Battle's famously chilly limousine ride; Placido Domingo flying through three time zones to step into the boots of an ailing Otello; Luciano Pavarotti aiming for high C in his twilight years. And we meet the present players in Bartoli's world: Roberto Alagna and Angela Gheorghiu, a.k.a. the Love Couple; Jane Eaglen, the Wagnerian web potato monitoring her cyberspace fan mail; the appealing soprano Renee Fleming, finally on the brink of stardom.
(summary from another edition)
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