This is the first time I have seen Massenet's charming version of the Cinderella story. It makes an interesting comparison with Rossini's Cenerentola. Whereas Rossini eschews magic and has the Dandini subplot, Massenet's is a traditional telling of the story with plenty of fairies and magic. Massenet's music is tuneful without ever challenging the genius of Rossini's version. Joyce DiDonato makes the most of her music as Cendrillon. Alice Coote, as Prince Charming, seems slightly less comfortable possibly because of her small stature next to DiDonato. However the love duets between the two are the musical highlights of the opera. Eglise Gutierrez's performance as the Fairy Godmother is a tour de force. Dressed like Shirley Bassey, only with wings and with eye-popping cleavage she makes a big impression with the Queen of the Night-type music that Massenet gives her. She has a scene in the enchanted forest where the she draws an invisible barrier between the two lovers so that they cannot see each other that reminded me of the television programme Blind Date.
There is stalwart support from Jean-Philippe Lafont as Cendrillon's father and Ewa Podles as the stepmother. Madeleine Pieraud and Kai Ruutel play the not-so-ugly sisters. The two sisters do not have much singing to do but their amusing stage business, along with their mother, do much to enhance the charm of this production. This being a French opera, there are also a couple of ballets. I also like the maids in drab grey cardigans who assist Cendrillon in her transformation. They reminded me of the mice in the Walt Disney film but I suppose I got that the wrong way round since Massenet got there first.
The opera is directed by Laurent Pelly whose productions I either love or hate. He seems to excel at comedy, the problem being that he tries to turn everything into a comedy. No problem in this opera though. I also liked the design which was just two walls with the story of Cinderella, in French, written on them. The costumes are spectacular with the stepmother and the two daughters wearing fantastic creations that are huge at the hips tapering to nothing at the ankles.
Sadly, Joyce DiDonato does not get the big number at the end that you get in Cenerentola. Nevertheless this is an enchanting production of a rarely-heard opera.
There is stalwart support from Jean-Philippe Lafont as Cendrillon's father and Ewa Podles as the stepmother. Madeleine Pieraud and Kai Ruutel play the not-so-ugly sisters. The two sisters do not have much singing to do but their amusing stage business, along with their mother, do much to enhance the charm of this production. This being a French opera, there are also a couple of ballets. I also like the maids in drab grey cardigans who assist Cendrillon in her transformation. They reminded me of the mice in the Walt Disney film but I suppose I got that the wrong way round since Massenet got there first.
The opera is directed by Laurent Pelly whose productions I either love or hate. He seems to excel at comedy, the problem being that he tries to turn everything into a comedy. No problem in this opera though. I also liked the design which was just two walls with the story of Cinderella, in French, written on them. The costumes are spectacular with the stepmother and the two daughters wearing fantastic creations that are huge at the hips tapering to nothing at the ankles.
Sadly, Joyce DiDonato does not get the big number at the end that you get in Cenerentola. Nevertheless this is an enchanting production of a rarely-heard opera.