There comes a time where you just need some sugary sweetness in the form of an opera, and then you find the most filling and delightful of dishes with no empty calories. I’m of course talking of the tale of Cendrillon, Jules Massenet’s version of the Cinderella story, which finally made its Metropolitan Opera Debut on April 12th, 2018.
This production, which premiered at Santa Fe Opera and Royal Opera House at Covent Garden, is produced by Laurent Pelly. Under the baton of Bertrand de Billy, who led the orchestra with mastery and great detail, was an all star cast of some of the best singers and stage prescience. Joyce Di Donato, now playing Cinderella at the Met for a second time, was the main pull for advertising prior to the opening, having played the role in the Santa Fe production. It reminds me how lucky we are to have singers like her, who can successfully go from Baroque to Bel Canto to late romantic with ease. She was vocally and physically delicate, drawing you into her character throughout. Her counterpart, Alice Coote as the Prince, has excellent chemistry and brought a youthful romance to the stage in scenes of pure magic.
Meanwhile, the sugary goodness of this production comes from its storybook setting, thanks to sets by Barbara de Limburg, which makes the audience feel like they’ve been transported into a book, the standout costumes of Laurent Pelly, ranging from absurd to stunning, and the choreography of Laura Scozzi, who takes the motion filled music of Massenet and gives it a silly and fun life that it so desperately needs. The audience laughed at the dance numbers with men in big Restoration era wigs, kicking their legs and holding back their arms. Ladies were balleting and shaking it from head to toe no matter what they were wearing.
With the exception of Cinderella, the prince, and Pandolfe (Laurent Naouri), Cinderella’s father, everyone is is so stylized and over the top. And it’s brilliant! Stephanie Blythe as the stepmother is a showstopper with her comedic timing and great low end of her range. Kathleen Kim as the Fairy godmother is a dreamlike wonder, with vocals that never touch the ground, especially in her blue fairy inspired outfit.
I only have a few logical problems with the story. If the household has servants, why is Cinderella doing a great deal of house work? If the prince is told Cinderella’s real name, why not just look for her instead of trying out the shoe? Why does Cinderella believe the details of the dance she is told?
Despite that, this production is wonderful and fun for children of all ages. It’s magical, fun, funny, and a cure for the blues at the end of this opera season. Go see it while you can.
