Madame de la Haltière and her daughters dismiss the Prince's interest in the 'unknown stranger' and say the Prince spoke contemptuously of her. The opera is full of wonderful music, from the impassioned love duet for Cendrillon and her Prince, to the coloratura effervescence of the Fairy Godmother and the brilliantly-scored ‘March of the Princesses’. Her expressive facial features and strong presence help too. Hitting our screens in 2020 the staging has lost none of it shine. It’s not Massenet’s most popular opera - Manon and Werther steal the top spots - but this quirky show is still full of lush romance, wit and beautiful orchestration. Cendrillon is gentle, serious and love-struck, with some deliciously high, floating lines which had DiDonato at her pianissimo best.”, “Joyce DiDonato’s Cendrillon showed once again why she holds her status as one of the world’s leading mezzos. It was released to cinemas six months later in January 2012.

In an excellent subversive touch the fairy godmother is a bosomy, punky sprite - the only thing etherial and floaty is her voice. Director Laurent Pelly pays tribute to the opera’s fairytale origins, setting his production literally within a storybook. Massenet writes a multitude of solos, spotlighting the lively winds and sumptuous strings, all of which are performed with aplomb. In this recording Bertrand de Billy conducts Massenet’s sparkling score with a wonderfully light touch. The way in which the story effectively comes across on stage is helped further by Barbara de Limburg’s lovely set design that comes across as a fairy tale book design, complete with a fold away balcony really adds to the overall charm of the production. Your subscription entitles you to 7-day-a-week access to our website, plus a full digital copy of that week’s paper to read on your pc/mac or mobile device In addition your subscription includes access to digital archive copies from 2006 onwards, Just want to read one issue? Massenet Cendrillon, Royal Opera House, London. The clock strikes twelve, and she rushes home, losing one of her glass slippers in her hurry.

Meanwhile, the Royal Opera Orchestra, conducted by Bertrand de Billy, are also on glorious form. Cendrillon is available to watch through the Royal Opera House’s Youtube channel until the 5th June. The Fairy (Cendrillon’s fairy godmother) enters and conjures up a coach, horses, a stunning dress and glass slippers for Cendrillon, so she can go to the ball without being recognized. NEWS: Kiln Theatre Announces Creative Engagement programme for Summer 2020. To continue sharing the beauty, joy and escapism of ballet, opera, dance and music, we rely on donations from people like you.

It is charming, entertaining, crammed full of outstanding costumes and very, very French. In this recording Bertrand de Billy conducts Massenet’s sparkling score with a wonderfully light touch.

One regret is that her sense of fun, dazzlingly displayed in her hallmark role of Rosina in Rossini’s Il barbiere di Siviglia, has no outlet here. Small bits of scenery pop up to denote location, but otherwise the stage is largely bare to give plenty of space for the servants to scurry to the Queen and King’s demands, and room to move in the ginormous costumes!

And star quality just about describes her performance here; in her initial appearance, she shaded her voice perfectly, instantly conveying Lucette’s sadness in just a few phrases, but without it becoming anything sugary.

At the performance I attended on Saturday evening, it was announced that Ms. DiDonato was suffering from a cold but would go on anyway. There are precious few opportunities for the coloratura fireworks Rossini gives to Cenerentola/ Angelina; Lucette’s music is anything but flashy, but it’s understated and sincere, portraying her innate ‘goodness’, and DiDonato gets this spot on.”, ~ Mark Pullinger Opera Britannia July 2011, “All the more impressive is Cendrillon’s dowdy dress and cardigan, which seem to express not only her downtrodden state, but also her tastefulness by contrast with her sisters … Everything about the central figure is illuminated by the stunning presence of Joyce DiDonato, who seems to have no limits to her capacity for expression through gesture and movement, while her fabulous vocal powers were only tested in a couple of high quiet notes.

Massenet’s Cendrillon is a touching, romantic interpretation of the much-loved story of Cinderella. “It’s the singers who matter, however, and nobody will be disappointed in Joyce DiDonato, singing the title-role with all the gleaming tone, pellucid projection and smiling warmth for which she is justly celebrated.”, ~ Rupert Christiansen The Telegraph July 2011, “Cendrillon (or Lucette as she is properly known) is sung by mezzo of the moment, Joyce DiDonato, who also starred in the production’s Santa Fe outing. In particular, the way in which the Fairy Godmother helps to transform Cendrillon to help her dream of attending the ball come true is imaginatively and delightfully achieved.

It really is the little touches that make this production stand out. The Royal Opera House is delighted to announce the next in their series of free weekly production broadcasts with a Facebook and YouTube premiere of The Royal Opera’s Cendrillon on Friday 22 May at 7pm.