La Cenerentola (Cinderella)

There are a lot of versions of the Cinderella tale out there. La Cenerentola happens to be one of my favourites. Rossini’s opera is a delightful blend of wit, warmth, and the power of kindness. It’s not as saccharin as some Cinderella stories, forgoing fairies and magical pumpkins, and instead delivering a tale packed with cunning disguises, quick thinking, and tomfoolery.

Director and designer Laura Hansford’s vision for the production is masterful, bringing out the best in the cast while creating a lovely balance between humour and heart. She elevates the comedy with brilliant moments of physical playfulness, enhancing the opera’s wit without ever overshadowing its romance. Every comedic beat feels fresh and effortless, seamlessly woven into the storytelling, ensuring that laughter and love go hand in hand.

One of the highlights of this production is the stunning costuming by Karen Cochet and Bianca Bulley. Their clever use of colour perfectly complements the set design, creating a cohesive and visually striking world. I especially love the floral and grassy motifs and the delightfully over-the-top creativity of the wigs and costumes. They exude haute couture elegance while embracing a playful, whimsical edge, finding a perfect balance between high fashion and humour.

Christine Felmingham’s lighting design is essential in shaping the mood of the production, elevating every scene with its aesthetic brilliance. Her work not only enhances the beauty of the show but also adds depth and atmosphere, making each moment feel even more immersive and visually captivating.

Of course, all of this technical brilliance would be nothing without a talented cast of performers and musicians to bring it to life. As Angelina (Cinderella), Mara Gaudenzi exudes elegance and poise, with a performance as graceful as it is vocally stunning. Her rich, luminous tones and exquisite phrasing make every note a delight, showcasing technical brilliance and heartfelt expression.

James Roser (Don Magnifico), Sarah Crane (Clorinda), and Hayley Sugars (Tisbe) all deliver exceptional vocal performances while infusing an abundance of comedy to their roles. Their charisma and comedic risk-taking make them a constant joy to watch, ensuring every scene they are in is as engaging as it is entertaining.

As Dandini, Samuel Dundas is outstanding, showing impeccable comedic timing and a rich, velvety vocal performance. His playful energy adds to the humour of the role, making him an absolute delight to watch and hear. Petr Nekoranec (Don Ramiro) and Shaun Brown (Alidoro) deliver thoughtful and heartfelt performances, with depth and sincerity. Their singing is a pleasure to hear, showcasing technical finesse and emotional warmth, while their commanding stage presence ensures they captivate the audience in every scene.

Conductor Richard Mills AM doesn’t just direct the orchestra or opera—he ignites it, shaping performances that feel meticulously crafted and thrillingly alive. Mills unifies the key cast, Opera Queensland Chorus, and Queensland Symphony Orchestra into a singular, cohesive expression, drawing out textures, dynamics, and colours that elevate the music from notes on a page to a living, breathing experience.

The Queensland Symphony Orchestra delivers a technically flawless and musically nuanced performance, showcasing their world-class status and ability to bring out the subtleties and complexities of the opera. Their playing is characterised by precision, passion, and a deep understanding of the music, making them a pleasure to listen to.

The Opera Queensland Chorus is a highlight of the evening, producing a rich, sonorous texture that fills the Concert Hall. Their warm, well-balanced tone and impeccable phrasing brings the music to life, creating a truly magical experience. Opera Queensland should be commended for producing a lively, energetic and playful production that is hilarious and heartwarming.

Kitty Goodall

Photography by Jade Ellis (top two images) and Murray Summerville (lower two images).