MAXIM MIRONOV, born in Tula (Russia), studied in Moscow and counts as an important Rossini-tenor of his generation. At the start of his career, he won the first prize in the singing competition Neue Stimmen in Gütersloh. Performances have led him since then among other to the Milan Scala, the Hamburg Staatsoper, the Palau de les Arts in Valencia, the Opéra de Monte-Carlo, the Washington National Opera, the Los Angeles Opera, the Semperoper and La Fenice. His repertoire includes roles in La cenerentola, L’italiana in Algieri, Don Giovanni, Anna Bolena, Il barbiere di Siviglia, Il viaggio a Reims, Orphée et Eurydice, Così fan tutte, Die Entführung aus dem Serail, Maometto II, La muette de Portici and Il turco in Italia. Current engagements: Almaviva (Barbiere) in Berlin, Dresden, Tokyo; Don Ramiro (Cenerentola) in Hamburg, Naples, Washington and Lindoro (Italiana in Algeri) in Moscow and Toulouse. At the Wiener Staastoper, Maxim Mironov sang Lindoro in 2011 and has also sung Ramiro and Almaviva.
ALESSIO ARDUINI was born in Desenzano del Garda in Italy. At the age of fifteen, he discovered his passion for singing and studied with Vincenzo Rose for several years. In 2010 he received a grant from the Lina Aimaro Bertasi Foundation and made his debut in the leading role of Wolfgang Amadeus Mozart´s Don Giovanni in a production of the Como Teatro Sociale. In a further production of this institution he performed as Conte d’Almaviva in Wolfgang Amadeus Mozart´s Le nozze di Figaro. Alessio Arduini appeared as Don Giovanni at the Teatro Communale in Bologna; at the Teatro Ponchielli in Cremona, he sang Riccardo in Vincenzo Bellini´s I puritani. Current and future engagements include the role of Guglielmo in Mozart´s Cosi fan tutte (Teatro Regio in Turin and Teatro La Fenice in Venice),Don Giovanni at the Teatro Petruzzelli in Bari and Schaunard in Giacomo Puccini´s La Bohème at the Salzburg Festival and at the Royal Opera House Covent Garden in London. He is a company member of the Vienna State Opera.
Paolo Rumetz began studying vocal arts in his hometown Trieste and perfected his skills in Munich with Josef Metternich and in Rome with Renato Guelfi. Paolo Rumetz made his debut in Cimarosa´s Il Maestro di Cappella in Spoleto. In 1988 his first appearance at the Teatro Verdi in Trieste in Strauss’ Ariadne auf Naxos followed. Since then, Paolo Rumetz has regularly been engaged in London, Pisa, Lucca, Prague, Macerata, Venice, Ravenna, Verona, Turin, Tokyo, at La Scala in Milan, in Barcelona, Zurich, Leipzig, Florence. Paolo Rumetz’s repertoire includes roles such as Enrico in Donizetti´s Lucia di Lammermoor, Sharpless in Puccini´s Madama Butterfly, Alberich in Wagner´s Das Rheingold, Doktor Dulcamara in Donizetti´s L’elisir d’amore, Sulpice in Donizetti´s La Fille du regiment, David in Mascagni´s L’amico Fritz, Don Geronio in Rossini´s Il turco in Italia, the title role in Verdi´s Falstaff, Don Bartolo in Rossini´s Il barbiere di Siviglia, Jago in Verdi´s Otello, Graf Gil in Ermanno Wolf-Ferrari´s Il segreto di Susanna, Fra Melitone in Verdi´s La forza del destino, Taddeo in Rossini´s L’italiana in Algeri.
The repertoire of the Grammy winning ISABEL LEONARD goes from Vivaldi and Mozart to contemporary composers like Thomas Adès. Born in New York, the american mezzo soprano studied at the Juilliard School and has received several rewards and prizes. Today, she regularly sings on stages like that of the New York Met, the Bayerischen Staatsoper, the Salzburg Festival, Glyndebourne, the Paris Opera, the Lyric Opera in Chicago, the San Francisco Opera and Carnegie Hall. Recently, she embodied among others roles like Rosina, Angelina (La cenerentola), Cherubino, Dorabella (Cosí fan tutte), Sesto, Blanche de la Force (Dialogues des Carmélites). She regularly works together with leading conductors like Andris Nelsons, Franz Welser-Möst, James Levine, Valery Gergiev or Esa-Pekka Salonen. In the coming months, the singer can be heard among others as Charlotte at the Met and in Bologna, as Zerlina at the Met and as Adalgisa in Toronto. Isabel Leonard gave her debut in the Wiener Staatsoper in 2011 as Cherubino in Le nozze di Figaro and also sang Rosina (Il barbiere di Siviglia) here.
Luca Pisaroni grew up in Busseto and studied at the Verdi Conservatory in Milan, in Buenos Aires and in New York. Pisaroni made his opera debut in 2001 as Figaro (Le nozze di Figaro) in Klagenfurt. The same year he was awarded the Eberhard Waechter Medal. Numerous engagements have for example led him to the Salzburger Festspiele, where he sang Figaro (Le nozze di Figaro), Douglas D’Angus (La donna del lago) and Hercules (Alceste), to the New York Metropolitan Opera as Figaro and Leporello, to Baden-Baden (Leporello), to the Theatre des Champs-Élysees as Figaro and Papageno (Die Zauberflöte), to Houston as Conte d’Almaviva (Le nozze di Figaro), to the Paris Opera Bastille as Figaro, Leporello (Don Giovanni) and Melisso (Alcina), to Glyndebourne as Guglielmo (Cosi fan tutte) and Leporello, to Madrid (as Figaro), to Aix-en-Provence as Publio (La clemenza di Tito) and to Brussels as Achilla (Giulio Cesare), to the Nederlandse Opera (Ercole in Ercole Amante) and to Santiago de Chile (Alidoro in La cenerentola). Recently he sang the title role in Rossini´s Maometto at Santa Fe Opera and Conte d'Almaviva in Paris. He made his debut at the Wiener Staatsoper in 2011 singing the title role in Mozart´s Le nozze di Figaro and sang also Enrico VIII. (Anna Bolena, Japan guest appearance).
ILEANA TONCA was born in Rumania and studied at the Music Academy in Bucharest. She has won several singing competitions and has performed in Bucharest, Brasov and Timisoara as well as on tours in Germany, Austria, Italy and France. She has been a member of the ensemble of the Wiener Staatsoper since 1999, where she debuted as Jemmy (Guillaume Tell). Furthermore, she has for example sung Woglinde (Das Rheingold, Götterdämmerung), Waldvogel (Siegfried), Echo (Ariadne auf Naxos), Lisa (La sonnambula), Xenia (Boris Godunow), Mädchen (Aufstieg und Fall der Stadt Mahagonny), Elvira (L’italiana in Algeri), Nannetta (Falstaff), Barbarina (Nozze di Figaro), Oscar, Papagena, Zerlina, Sophie (Rosenkavalier, Werther), Stimme vom Himmel and Tebaldo (Don Carlo), Zdenka (Arabella), Adele (Fledermaus), Servilia, Musetta, Adina, Susanna. Furthermore, she performed in productions of children´s operas (Traumfresserchen, Peter Pan, Bastien und Bastienne, 35. Mai, Pinocchio, Pünktchen und Anton). In 1999/2000 she was awarded an advancement award by the Waechter Medal Foundation. In 2004 she received the Austrian frauen.kunst.preis.
The Australian Mezzosoprano MARGARET PLUMMER completed her singing studies at the Sydney Conservatoire of Music. Furthermore, she is trained as a Jazz singer. She is a multiple prize-winner at opera competitions and visited the School of Music and Theater in Hannover in 2005. For a while, she was a member of the choir of the Opera Australia, before wtarting her career as a soloist. In this way, performances followed among others, at the Opera Australia and the Pinchgut Opera. In the 2015/2016 season, she will be the youngest scholar of the Opera Foundation Australia. Margaret Plummer has sang among others, Dorabella in Così fan tutte at the Pacific Opera and Hänsel in Hänsel und Gretel at the Ozopera School‘s Company. At the Opera Australia, Margaret Plummer sang in Dido und Aeneas, in the Rosenkavalier and in Le Nozze di Figaro. She sang Knusperhexe in Hänsel und Gretel with the Sydney Symphony, Charlotte in Werther at the Lyric Opera of Melbourne, Phoebe in Rameaus Castor and Pollux at the Pinchgut Opera. At the Wiener Staatsoper she gave her debut as Tebaldo in Don Carlo.
Act 1 Don Magnifico, Baron of Montefiascone, lives with his two daughters and his step-daughter in a rather dilapidated mansion. While Clorinda and Thisbe spend their day dreaming of a life of leisure, finery and dancing, Angelina (Cenerentola) must serve her half-sisters and do all the housework. One day, much to the displeasure of Thisbe and Clorinda, she sings a ballad about the king’s son, who goes in search of a bride, finds not one but three aspirants, and finally decides to marry the one who has a good heart. The song is interrupted by a knock at the front door. It is a beggar asking for food. Disgusted, Clorinda and Thisbe show him the door, but Angelina takes pity on him. She gives him bread and coffee. Her two half-sisters would like nothing better than to trounce Angelina; they are stopped only by the appearance of a group of cavaliers, bringing an invitation for Don Magnifico and his daughters from Prince Ramiro, who is looking for a bride. When the cavaliers announce that the prince himself is on his way, Clorinda and Thisbe can no longer contain themselves: they excitedly order Angelina hither and thither as they get dressed up in all their finery. The two finally end up quarrelling about which of them should be the first to give the news to their father. Clorinda and Thisbe’s argument wakes their father. He enters grumpily and tells them of a wonderful dream he has had: he himself appeared in it as a magnificent flying donkey and, enthroned on a bell tower, heard festive bells ringing. Don Magnifico interprets this dream to mean that as a grandfather, he will one day embrace a large number of royal grandchildren. Finally they manage to interrupt Don Magnifico’s torrent of words to inform him about the visit of the cavaliers and the invitation. Delighted, Don Magnifico considers the interpretation of his dream confirmed, at least approximately. Prince Don Ramiro enters disguised as a simple valet. He had been advised to play this role by his tutor, philosopher Alidoro, who had already reconnoitred the situation earlier as the beggar asking for charity. Angelina and Ramiro fall in love on the spot. When the young man asks Angelina who she actually is, he finds out that Don Magnifico is not her real father, but the father of her two half-sisters. Ramiro cannot understand why such a charming girl should be dressed in such tattered clothes. The prince's cavaliers enter with the disguised Dandini, Don Ramiro’s valet, who on his orders is playing the part of the prince. With this masquerade, Ramiro hopes to be able to identify the true intentions of the individual marriage candidates. The assumed prince is greeted gushingly by Don Magnifico, Thisbe and Clorinda. With evident pleasure, Dandini gains increasing confidence in his role as the prince. From him they all learn that it was a provision of the deceased king’s will that is forcing the prince to marry as soon as possible, as he will otherwise be disinherited. When Angelina modestly asks to be allowed to go to the palace and at least watch the dancing, she is silenced by her stepfather. Alidoro enters masquerading as a court official with the list of marriageable daughters in the house. Angelina is passed off as a maid; she is disowned and declared to have died. Ramiro is outraged at the way Angelina is being treated. However, his protests are lost in the chaotic preparations for departure. Full of anticipation, they all leave for the prince’s palace. Dandini plays his role perfectly and is not sparing with his apparent tributes to the conceited Don Magnifico, appointing him keeper of the cellar of the palace. As ordered, Dandini flirts with Clorinda and Thisbe, each of whom tries to win the prince for herself. Elated at his new office, Don Magnifico decrees and dictates a long edict, forbidding wine to be diluted with water for fifteen years. In the meantime Dandini reports to his master on the vanity of Clorinda and Thisbe, who are then no longer candidates for Don Ramiro's marriage plans. Festive music and excited calls announce the arrival of an unexpected guest: an elegant, veiled lady. She introduces herself with the statement that she disdains external glamour and intends to marry only the man who can give her a warm heart. She is then asked to lift her veil. The lady complies with the request; her beauty prompts cries of general enchantment. It is Angelina, who with the help of the all-seeing Alidoro has managed to come to the ball after all. All who know Angelina are stunned. They see the similarity, but cannot believe that this dazzling lady and poor Cinderella could be one and the same person. Act 2 In Don Ramiro's palace, Don Magnifico holds a family powwow with Clorinda and Thisbe. The old man is greatly perturbed by appearance of the competitor, who on top of everything else looks so similar to his downtrodden stepdaughter. Magnifico’s bad conscience makes itself known: after all, he has squandered Cinderella’s share of the inheritance on his biological children. Faced by financial ruin, the only thing that will save him is if the prince marries one of his daughters. Ramiro listens unnoticed to a discussion between Dandini and the unknown lady, in which Angelina rejects the advances of the man she believes to be the prince. She admits that she loves another, namely the “valet”. Elated, Ramiro rushes out and proposes to her. However, Cinderella imposes one condition: she gives him a bracelet with the assignment that he must find her. She will wear an identical bracelet in her usual surroundings. He will recognize her by it. If she does not then displease him, she will be his. After these intimations, she hurries away. Ramiro immediately orders his carriage to be drawn up. Impatiently he sets off in search of his beloved, but not before he changes Dandini back into his valet. Now Magnifico must learn the bitter truth from Dandini. Filled with impotent anger, Don Magnifico sees all his honours and the financial rescue he had assumed secure all disappearing. Back home after the ball, Angelina dreams again of the king’s son who wants to choose a wife based solely on the inclinations of his heart. Her dreams are interrupted by Don Magnifico who bursts noisily and angrily in with her disappointed step-sisters. They vent all their pent up anger on poor Cinderella. A storm breaks out, and as fate – or one of Alidoro's stratagems – will have it, an accident right in front of Don Magnifico's mansion of all places brings the royal coach to a halt. Don Ramiro must seek shelter in the mansion. Thanks to the bracelet, the prince recognizes his beloved, kept as a maid. She in turn realizes the true identity of the man she adores. Deliriously happy, Angela declares her willingness to follow Don Ramiro. When the new princess enters the throne room, she is revered in grand style. Angelina asks her husband to forgive her relatives, since out of the goodness of her heart she has forgotten all her hardships.