When it comes to Massenet's best opera, it is between Manon and Werther. Thais also has some lovely music and an affecting final scene. While I do prefer Rossini's version(La Cenerentola) of the fairytale, Cendrillon is definitely well worthwhile, the story is true in spirit to the fairytale with even more magic, and the music is tuneful and characteristically with Massenet reflects the emotions of his operas' roles. This 2011 production is pure magic. The sets are minimalist but not so much that it is unappealingly ugly. The costumes are lovely, I did like that the servant's drab clothes were different in look to everybody else's exotic ones. The stage direction is not what you call traditional, but it is imaginative without jarring or feeling distasteful. The orchestral playing is sparkling and has the right amount of depth as well, the chorus blend beautifully and the conducting is elegant and musical with few if any questionable tempos. Joyce DiDonato is always consistently great, and her Lucette/Cendrillon shows vocal beauty and evenness as well as a charmingly commanding presence. Alice Coote sings with her usual beautiful rich voice, is dashing and convinces more than most other mezzos in trouser roles. Eglise Gutierrez hits all the right high notes with a fresh tone and is so beguiling and benevolent that you do wish her for your fairy-godmother. Ewa Podles has a very powerful contralto voice and is deliciously outlandish as the stepmother. The stepsisters are characterful and delightful with no signs of overplaying. Jean-Phillippe Lafont's father figure is sympathetically characterised and warmly sung. In conclusion, magical. 10/10 Bethany Cox
Review of Cendrillon
