If you think opera is all stuffy and only for the upper echelons of society, State Opera South Australia’s production of Rossini’s La Cenerentola or Cinderella will quickly make you change your mind. This is an opera with a familiar tale – albeit with some variations on the original in Rossini’s version – and an opera with a lot of comedy in it. It’s an opera where you will find yourself laughing more often than not. If you’ve been considering dipping your toes into opera’s sparkling waters, this production offers you the perfect gateway.
Rossini’s reimagining of Cinderella does away with the fairy godmother we’re all familiar with from the tale originally penned by Charles Perrault. The fairy godmother is in some ways replaced with Alidoro, a man who first enters their house as a beggar, but is actually a mentor of sorts to the Prince. Pelham Andrews makes a delightful cupid setting out not just to get Cinderella to the ball but to ensure the Prince finds her after it.
The slipper from the tale we know is replaced instead with a bracelet, which instead of being lost by Cinderella is offered to the Prince as a way to find her. That said there is a fun nod to the slipper of the original when the Prince (pretending to be the Prince’s valet) picks up one of the step-sister’s slippers thrown on the floor and holds it up to Cinderella, who is hurriedly tidying everything they’ve just tossed on the ground. As you can see by now there is a lot of people pretending to be other people – the beggar who is really the Prince’s mentor Alidoro, the Prince disguised as his own servant, and then the servant Dandini (sung by Nicholas Lester) relishing in getting to be Prince for the day – “I’m going to eat 4 times as much as usual” he exclaims as they head to dinner at the ball. And Cinderella (Anna Dowsley) is called Angelina in Rossini’s Cinderella, not that she’s pretending to be anything that she’s not, in fact she wants the Prince to see who she really is and then decide if he truly wants her as his bride.
As a nod to the 50th jubilee year of State Opera South Australia, director Neil Armfield chose a 70s theme for the production, “an era that gifted South Australia The Adelaide Festival Centre and State Opera South Australia” as Mark Taylor, Executive Director, State Opera South Australia explains. Think mulleted men, big sideburns, big lapels, orange and green floral dresses. Set & Costume Designer, Stephen Curtis was spot on. This 70s twist offers a visual feast to a production which is already full of so many treats for the senses. As Taylor said “Under the direction of Neil Armfield, the work invites us into a richly theatrical world that favours humanity over fairy-tale artifice, placing character, humour and moral clarity at its heart.”
Photo: Andrew Beveridge
The fourth wall is often broken throughout Rossini’s Cinderella, something those familiar with his other work The Barber of Seville will be familiar with. The State Opera Chorus first appear on stage, not singing but as if they were roadies checking notes, installing and polishing fixtures on the stage. Often Alidoro will directly look at the audience, whether it be to direct us to applaud the orchestra, or with a contented look at the plan he has put in place. In Act II, the fourth wall breaks even further in a very comic scene where Alidoro acts as puppeteer to the other performers, moving them about the stage and putting them into what looks like one very awkward group photo pose. And on the subject of movement, the choreography – mulleted men gyrating with complete commitment – adds yet another layer of joyful absurdity to a production that never stops giving.
State Opera South Australia’s Cinderella is performed by a stellar cast. While all of them are incredible, we were particularly blown away by Jihoon Son in the role of Don Ramiro, the Prince. His tenor soared projecting and filling seemingly effortlessly throughout Her Majesty’s Theatre. When Teddy Tahu Rhodes in the role of Don Magnifico, performed the extremely demanding Tu seconda donna del tuo cor, we wondered when he might need to take a breath! It contains a 16 second patter line of non-stop syllables delivered at a fast pace as he fantasises about his daughters’ elevation to princesses and the ensuing wealth. He boasts of riches like gold, jewels, titles, and feasts pouring in once they’re wed to royalty, revelling in greedy visions of luxury. Dane Lam, Artistic Director, State Opera South Australia explains “coloratura—those cascading, acrobatic runs—is the musical equivalent of freestyle skiing: dazzling in execution, grounded in discipline.”
Helena Dix as step-sister Clorinda and Indyana Schneider as Tisbe are an absolute delight. Their facial expressions alone could carry a scene without a single note being sung. Anna Dowsley’s Angelina is everything they are not – gentle and genuine where they are shrill and scheming – and utterly convincing as someone worthy of a prince’s devotion.
Photo: Andrew Beveridge
Much like the decade that inspired it, this production is bold, a little ridiculous, and utterly impossible not to love. Whether you’re a seasoned opera-goer or a first-timer nervously dipping your toes in, Rossini’s Cinderella State Opera South Australia style will have you wondering why you ever stayed away. Only three more chances to see it before the coach becomes a pumpkin.
5 CROISSANTS
Matilda Marseillaise was a guest of State Opera South Australia
KEY INFO FOR STATE OPERA SOUTH AUSTRALIA’S CINDERELLA
WHAT: State Opera South Australia Rossini’s La Cenerentola (Cinderella)
WHERE: Her Majesty’s Theatre ADELAIDE
WHEN: Just three shows remain:
Saturday 9 May, 2pm
Thursday 14 May, 7:30pm
Saturday 16 May, 7:30pm
HOW: Purchase your tickets via the State Opera website here
HOW MUCH:
Single ticket prices are as follows:
Premium: $199
A Reserve (Adult): $159
A Reserve (Concession*): $143
B Reserve (Adult): $119
B Reserve (Concession*): $107
C Reserve (Adult): $79
C Reserve (Concession*): $71
C Reserve (Under 30’s*): $35
