Massenet’s Cendrillon goes to the ball at Opera Australia

Brand new productions seem to be a bit of a rarity at mainstage Australian companies these days. Massenet’s Cendrillon is in itself a rarity here; this Opera Australia production comes originally from Covent Garden some 14 years ago (via the Met in this “abridged” English language version). Short it certainly is, down from the original two and a half hours uninterrupted to less than two with an interval. It is however a very entertaining production as seen here, overall well performed.

Massenet’s take on the Cinderella story hews much closer to Perrault's original French tale than, for instance, Rossini’s La Cenerentola, with its traditional magical elements more intact. On ascending to the foyer of the Sydney Opera House, we were greeted by two legged horses and red-skinned footmen, foreshadowing what was to come. There were quite a few quite small children in attendance who were obviously enchanted by it all.

The Opera Australia Orchestra was conducted by US-based Evan Rogister, who provided a crisp accompaniment, with an especially lively take on the dance music. This was somewhat truncated, but the main omission was the second scene of Act 3, the rather dream-like meeting of Cendrillon and the Prince in the woods, which does something to expound on their apparent instant connection.

Laurent Pelly's stage setting is clever and evocative but really quite sparse, with little actual furniture. The curtain rises to reveal a wall covered with text comprising the original French tale starting “Il était un fois …” and this is expanded and closed in to create different spaces, with opening and closing doors and panels. The Prince’s bed is just an outline of a royal bed, and there is quite a bit of lying on the floor.

The costuming is also clever and amusing, with the stepsisters not particularly ugly but initially appearing in grotesque balloon skirts. In the scene where the prince is presented with an array of possible spouses, all the women are dressed in red except the heroine, in a simple but charming white, full-length gown. This scene was well acted, courtesy of revival director Karine Girard, and particularly entertaining, as the prospective candidates sequentially try different strategies to attract the bored prince’s attention – haughty, seductive and gauchely awkward. Credit is also due to the Opera Australia dancers, who blended successfully into the performance, as did the various members of the Opera Australia Chorus. Similar hilarity attended the slipper-trying scene.

Leading the cast were two mezzo-sopranos, both equally convincing vocally and dramatically. The English diction of all the singers was excellent, although it might be noted that surtitles were offered in English and Chinese. Emily Edmonds was a touching Lucette (Cendrillon), with smooth vocal production and some thrilling high notes, if a little less audible at the bottom of the register. She was well-matched by Margaret Plummer as the Prince, deploying a warmly coloured voice and excellent characterisation.

It was wonderful to see Emma Matthews, formerly one of the great soprano stars of Opera Australia in everything from Partenope to Lakmé to Lulu, back on the Sydney stage, looking like anybody's idea of the fairy godmother, with her coloratura skills, range and accuracy still intact, and conveying all the charming authority demanded by the part. Contralto Angela Hogan was an entertaining Madame de la Haltière, singing beautifully with excellent comic timing, garnering some appreciative boos at the end. The stepsisters were also well-portrayed by soprano Jennifer Black and mezzo-soprano Ashlyn Tymms, a West Australian Opera regular. Bass Richard Anderson was a sympathetic hen-pecked and resonant Pandolfe, and Shane Lowrencov was a fun king (although it was a pity about his ragged beard). The final applause was very warm indeed; this was clearly a successful choice for the summer holidays.