Oslo's new production of Rossini’s operatic Cinderella story – La Cenerentola – marks Norwegian director Stefan Herheim’s first foray into the world of Rossini. Herheim sees the opera as a giant clockwork, the many arias and ensembles ticking away with mechanical precision. This results in a precisely choreographed and dazzlingly theatrical production, in turns thought-provoking and riotously funny.
Herheim’s Cenerentola opens on an empty stage, with a cleaner going about her business while the orchestra tunes. The overture begins, and down from the fly loft comes Gioacchino Rossini himself – paunch, toupee, angel wings and all – deus ex machina-like on a cloud. As he conducts the orchestra with his quill, it’s as if he is willing the opera into being. While he has assembled the rest of the cast – reserving the role of the cruel father Don Magnifico for himself – Rossini doesn’t have a Cinderella. Luckily, the cleaning lady also onstage seems to be available. Herheim is not at all interested in making this outstandingly silly opera make any sense, but rather he embraces the silliness and proto-Dadaist absurdities whole-heartedly with dancing and visual gags bordering on slapstick. In one particularly inspired moment in the Act I finale, the main characters have all donned dinner tables and are singing about their confusion whilst the chorus tries to eat their heads.
The sets by Daniel Unger and Stefan Herheim place the opera in an ever-expanding fireplace, finally looming over the stage like the proscenium of a theatre. The fireplaces come apart to reveal the inside of a house, with video projections on the back wall subtly commenting on the action. This is a production primarily concerned with the creation of stories, constantly blurring the line between fiction and reality. The big storm scene in Act 2, where the prince’s carriage conveniently breaks down outside Don Magnifico’s house, featured the two wicked stepsisters controlling the smoke machine, and Alidoro playing the thunder machine! The production provokes thought in its many gags, but Herheim doesn't over-intellectualise to the point of robbing it of all semblance of humour.
Matching the fast-moving, wondrously theatrical production, was the singing, with a surprisingly good ensemble cast, matching each other note for note. Anna Goryachova’s Cenerentola – Angelina, as she is called in the opera – was not at all as angelic a character as she usually is made out to be. This Cinderella takes her inspiration from several versions of the story, resulting in a decidedly more cynical portrayal of the title heroine. Goryachova’s voice was alluringly dark, with steely high notes and remarkably clear coloratura, befitting this more sinister characterisation. When she sang about forgiveness as her revenge in her final aria, it seemed less a magnanimous deed and more a genuine threat.