Gioachino Rossini’s Cinderella (La Cenerentola), English National Opera, The Coliseum, London WC2, until 14 October, 4☆☆☆☆. Review: Clare Colvin.

Photo Credit: Mark Douet.

Gioachino Rossini’s Cinderella (La Cenerentola), English National Opera, The Coliseum, London WC2, until 14 October

4☆☆☆☆. Review: Clare Colvin.

“Exuberant Cinderella goes into orbit.”

The International Opera Award-nominated director Julia Burbach creates images on stage that carry considerable force.  Her new production for English National Opera takes Rossini’s youthful comedy La Cenerentola, and rocks it to a present-day Cinderella.  The result out-does Rossini’s score of musical trills at the end of the first act, though by the interval I was feeling somewhat confused by an overdose of chaos.

Not that it matters when the updated plot sticks closely to the original fairy tale followed by Rossini, which is different from the well-known pantomime version, in that it’s not a glass slipper but a glittering bracelet that Cinderella leaves behind as a tracking device for the Prince.  It is also the Prince’s purple-clad Tutor Alidoro (David Ireland), rather than the Fairy Godmother, who sends Cinderella in secret to the ball.

Burbach uses images from the pantomime version of the Cinderella tale too, which is why I guess we have children dressed as little pages with sugar mouse heads, to remind us of the panto Cinderella’s pumpkin coach drawn by mice.  There’s a reference to the Prince’s ancestral spirits too, in the milling around on stage of red-clad courtiers of King Henry VIII’s court, bearing their gilt-edged picture frames.  The poorly worded and indistinct English surtitles suggest a preference for pictures rather than words. 

 The visual fireworks don’t detract from the singing, though - of which Simon Bailey’s grasping Don Magnifico is a magnificent example.  Isabelle Peters’ Clorinda and Grace Durham’s Tisbe are a manic pair of consumer-obsessed followers of fashion.  As the central romantic pair, Mezzo-soprano Deepa Johnny’s warm honey tones and Aaron Godfrey-Mayes’ lyrical tenor as Don Ramiro are a pleasure to listen to, and baritone Charles Rice makes a personable change of identity with the Prince as Dandini.

The final scene lends itself to various interpretations.  As Cinderella embraces her errant family in reconciliation, Don Ramiro is left on the sidelines, and all attention, including snapping paparazzi, is lavished on the shameless relatives.   It certainly feels like an ending for today.

In repertoire till 14 October

Conductor: Yi-Chen Lin; Director: Julia Burbach; Set designer: Herbert Murauer; Costume Designer: Sussie Juhlin-Wallénp; Lighting Designer: Malcolm Rippeth; Video Designer: Hayley Egan; Choreographer: Cameron McMillan; Production pictures: