Enjoyable for all on the Coliseum: Rossini’s ‘Cinderella’

In Rossini’s model of Cinderella (La Cenerentola), the depraved stepmother is changed by a pompous and uncaring stepfather, Don Magnifico; and the Fairy Godmother by a thinker, Alidoro, the Prince’s tutor. And on the finish, Cinderella is recognized not by a glass slipper however by certainly one of a pair of silver bracelets. The conventional supernatural parts that characterise the Cinderella story have been eliminated by Rossini’s librettists for ease of staging, however this new manufacturing by the English National Opera — nonetheless hanging on regardless of cuts on the London Coliseum — has a stage magic all of its personal.

Cinderella’s deceased mom is current all through in a gown matching the sample of the wallpaper, emphasising her silent however ubiquitous presence within the background. She additionally dances, together with 5 different skilled dancers, injecting some joie de vivre to this intriguing staging. The courtiers in Prince Ramiro’s family seem in shades of crimson and a wide range of costumes from occasions previous, emphasising the household inheritance and expectations of the present prince, even demonstrating a liking for sport that he is perhaps anticipated to comply with. Add the occasional use of youngsters in mouse costumes, as if they only stepped out of a manufacturing of Nutcracker, and also you get the concept the director Julia Burbach is throwing numerous concepts round in what quantities to a reasonably eclectic staging of the opera. But I preferred it and located it extremely entertaining. As she says, “Cinderella is designed to be joyous, to make you laugh, and maybe offer a little insight”.

Rossini’s model offers the Prince with loads of perception as he swaps roles together with his valet Dandini. The purpose is to go to the household incognito to watch the sisters, certainly one of whom, Alidoro informs him, would possibly make a really appropriate spouse. The household treats the prince, disguised as his valet, with disdain, however when Dandini himself arrives taking part in the function of the prince, the ugly sisters and their status-seeking father are throughout him. This father, Don Magnifico later turns into utterly bewildered, then livid, then obsequious, when the true prince tries to disclose to him that he has been hoodwinked by a job reversal. In the top, Cinderella forgives the obnoxious trio of her father and step-sisters, and all ends fortunately.

This efficiency buzzed with Rossinian vitality beneath the baton of the Taiwanese conductor Yi-Chen Lin and the ever-excellent orchestra of the ENO. The principal singing roles have been very nicely forged with Deepa Johnny making an agile-voiced and fantastically sung Cinderella, and Simon Bailey including wonderful bass heft as an attractive Don Magnifico. It’s a component that may be over-played in a really comedian method, however I most well-liked it this manner. As the prince himself, Aaron Godfrey-Mayes confirmed a really tremendous Rossini tenor, if missing the wonderful stage presence of  Charles Rice as his valet Dandini. As the sensible and all-seeing Alidoro, David Ireland gave a really tremendous efficiency, together with witty contributions from Isabelle Peters and Grace Durham because the frightful sisters.

The unique libretto is after all in Italian, however as with all ENO’s performances they use an English translation, on this case by Christopher Cowell, who managed to weave in some humorous modern references. This was very a lot set in trendy occasions, utilizing Rossini’s genius to assist us snicker at ourselves. Well price a go to, even if you happen to’re not a daily opera goer.

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