Festival Opera

La Cenerentola

Festival Theatre, Edinburgh

Rachel Cronin

four stars

OPERA de Lyon will leave you giggling like a schoolgirl at this rebirth of Rossini’s almost-forgotten opera, La Cenerentola. This light-hearted take on Cinderella is a profound melee of ethereal singing, over-the-top acting, and hilariously questionable dancing. The blend of cultures in this French production led by up-and-coming Norwegian director, Stefan Herheim, artistically compliments the rich cultural flavours of the Edinburgh Festival.

One of Rossini’s forty operas, (which he notoriously wrote in twenty minutes) is sculpted for a Scottish audience with moments that leave us reeling - when Cinderella aids a beggar, offering him bread and coffee, multi-talented lead, Michèle Losier, promptly brandishes a box of Gregg’s Yum Yums and a reusable coffee cup.

Lines separating the stage and the audience blur as characters interact with the audience and orchestra. Edinburgh's own Katherine Aitken momentarily breaks character, giving a hearty "Get tae" to conductor, Stefano Montanari, who infiltrates the stage in disguise, adding genius elements of pantomime to the spectacle. The perfectly-timed comical moments help the opera glide along smoothly, and without them the production would seem slow paced.

Comedy is not the only layer of entertainment found in this old-new tale. Cinderella and Prince Ramiro (Taylor Stayton) share several elegant duets, their voices blending in such a way that we are left grinning giddily in our seats. The core of the story is not lost in this almost-parody, leaving an all round gleeful production with a message: "Goodness will prevail".

Rachel Cronin is a pupil at Royal High School and this review was submitted as part of The Herald Young Critics Project with the Edinburgh International Festival, as were the ones below.

Festival Opera

La Cenerentola

Festival Theatre

Emily Goddard

four stars

AN enchanting twist on the favourite cinderella tale would be my verdict on the lovable drama by Rossini. As this marvellous performance unravels we are propelled into the comedic experience from the Choir of narrator angels to the unexpected twists. To me, coming from such a foreign language it is all the more poetic, the characters easily spring to life. The sisters duo and their mocking tone with petty attitudes is at times irritating and hugely over acted, but their crisp pronunciation and lovely melody’s create full interesting characters.

Fans of the opera experience mixed with the pantomime will love the ‘La Cenerentola’. From the initial cleaner in modern times being whirl winded into the magical world with two evil step-sisters and a cruel step-dad, only one of the many fascinating turns in Rossini’s writing. Although you can get lost in the emotion of the tale and it can feel like the instruments overpowers the mood of the vocals. The extended projections from Michèle Losier (Angelina) resolve these minor mishaps and create the flowing mood once again.

The set and costumes are superbly constructed and greatly eccentric but connect perfectly with the story. The device of a white feather commanding the story and Cenerentola eventually taking control in the end leave you fascinated with the tale and make this a wonderful night out. Even though the length can be tiring, each time the voices are heard you are quick to return to feelings of complete amazement at this production.

Festival Opera

La Cenerentola

Festival Theatre

Alia Davie

five stars

THE Edinburgh Festival’s opening night production of Rossini’s opera, La Cenerentola, was a spectacular representation of Norwegian director Stefan Herheim’s talent for the performing arts. Rossini’s rendition of the classic fairy-tale, Cinderella, injected cheek and vivacity into the protagonist and abandoned many familiar supernatural elements. However, Herheim had no difficulty in replacing this with sprightly surprises and joyous energy that created what could only be described as “stage magic”.

Herheim’s rendition perfectly depicted the chaotic nature of Rossini’s original Cinderella-inspired tale; the cast’s exaggerated performance and elaborate costumes created a visually overwhelming effect that left us dazzled. Costume designer Esther Bialas’ work was matched only by the Edinburgh Festival Theatre venue itself, as the intricately embellished curtains and stonework complimented the grandiose of the performer’s ballgowns.

Herheim’s ingenuity in the operatic world could be seen from the very beginning, where a lone Cenerentola is framed against a plain background, a blank canvas upon which Herheim created a vivacious and visionary rendition of Rossini’s original opera. Not only did Herheim’s production continuously break the fourth wall, it broke the boundaries of traditional opera, involving both the audience and orchestra in the hilarious stage antics.

The chorus moved like a crowd of cats as each member assumed their own motif, adding even more depth and perspective to an already intricate opera. Their explosive movements were complimented perfectly by the animated, upbeat sound of the Orchestra of the Opéra de Lyon, conducted by Stefano Montanari.

La Cenerentola’s seven characters had been beautifully cast, the most notable of which is the wonderfully talented Michéle Losier (Cenerentola) whose resounding alto added emotional depth and richness to the main role. Moreover, former Broughton High School student Katherine Aitken had a comedic talent that suited her perfectly to the role of Cenerentola’s insolent half-sister Tisbe. Having left Edinburgh to pursue her career in opera, Aitken returned to grace the Festival Theatre Stage with a hilarious performance that truly portrayed the extent of her operatic prowess.

Herheim’s La Cenerentola was a thrilling spectacle, and it’s safe to say opera has never been quite so enjoyable. 

Festival Opera

La Cenerentola

Festival Theatre

Harry Graham

four stars

LA CENERENTOLA, preformed by the acting company Opera De Lyon, was not only extremely riveting but also a brilliant masterpiece of work that introduced opera in such a way that made the common perception of it being quite dull and dated null and void.

Through the actors and actresses I saw La Cenerentola, which is a version of the well known tale of Cinderella (a young servant destined to marry a prince and escape her cruel upbringing) be preformed marvellously. From the perfection of their lines which never once hit a faulty note to the costumes they wore that helped to ease us into the scenes and acts, the company Opera De Lyon brought us a timeless classic and made it so engaging that any notion of it being more of a children's tale was forgotten instantly.

If I was however to highlight one problem it would have to be the humour. While most was fine and helped to engage the audience more, some I found cheapened the opera as a whole and made it seem to me more like a pantomime. However this was a small grievance and only happened a few times throughout the performance and overall I would highly recommend seeing this opera if one has no plans and wishes to spend their afternoon in Edinburgh wisely.

Festival Opera

La Cenerentola

Festival theatre

Ellie Rae

five stars

THIS outstanding and heart warming Cinderella inspired opera made the audience truly believe that true love can be found anywhere if you, yourself truly believe in it.

The way the music really fit in with the operatic singing made me really understand how the actors were feeling and if the tonality changed I was able to know why by just knowing what the instruments played. The conductor was able the whole way through, to keep the orchestra in time and also add in some humour to the playing and he actually went on stage with the actors. The conductor going on stage was so well executed because nobody noticed he was, until the ugly stepsisters figured it out.

There was so much humour within the opera which really helped elevate the performance. There was also a lot of the operatic singers involving the audience which made me feel like I was really there with them and made me understand the setting better too.

The periodic costumes were definitely a nice touch to the performance. There was a really lovely contrast between the costumes and the acting style as the acting felt extremely modern with modern style humour also.

There was some subtle changes in La Cenerentola such as: instead of a glass slipper there was two matching bracelets and the prince had to match the bracelet up with its pair. The names were also changed so for example Cinderella was Angelina.

Overall I really enjoyed this performance and I would recommend to anyone.

Festival Opera

La Cenerentola

Festival Theatre

Charlie Ashcroft

four stars

DIRECTOR Stefan Herheim vibrantly brings Rossini’s cinderella tale to the festival theatre stage in a whirlwind of colour, humour and originality. This two act spectacle explores new modernistic presentation whilst preserving its classical operatic roots.

Even to an untrained ear the voice of Cinderella, played by Michèle Losier, entrances audiences with flurry of trills and accents that causes a swelling of emotion to elevate you to a higher level of an appreciation for this age old form of theatre. With a swift flick of her wrist she is able to convey both charisma and grace which is a tasteful concoction for the off beat opera.

Whilst the soloists were a huge asset to the show, what brought the play to life was the strong dynamic between the characters and the chorus. A thriving competitiveness between the step sisters allows subtle comedy to seep through in such a way that does not divert the mind away from the time-honoured story line.

Along side the mischievous encounters, the set transformations help to immerse yourself into 17th century streets, ballrooms and, oddly, an array of fireplaces…

Taking the forth wall down brick by brick with the simple action of a slowly turned head shows the professionalism and talent that Opèra de Lyon can produce. This is a comedic opera for the newly introduced and the most experienced. A timeless tale of goodness, truth and love just hits the spot.

Festival Opera

La Cenerentola

Festival Theatre

Alex Enaholo

five stars

Opera de Lyon’s performance of Rossini’s Cinderella story was a magnificent Piece of Opera, which took elements of fairy-tales, combined with modern stagecraft and humour.

The most impressive element of the production was the amazing setting, which created a palace expanding from rear of the stage out of a fireplace. Suddenly, it would transform into the collection of staircases and landings which were Cinderella’s home.  The pieces were used in ingenious ways, from places for the prince to hide, to boxes for the chorus to watch from.

However, the performances were also standout: a highlight was Renato Girolami’s Don Magnifico, Cinderella’s cruel stepfather, with three vocally impressive and humorous solos, (one about a flying donkey!), an audacious costume including the biggest wig I have ever seen, and perfect comic timing. He truly was a sight to behold.  Another standout performance was Edinburgh native Katherine Aitken’s turn as Tisbe – one of Cinderella’s jealous stepsisters. She provided the single funniest moment in the whole show with the help of a stage invasion from the orchestra conductor.

What really set the performance apart was the direction, which was very self-aware with nods to the audience and intentional pantomime moments, including Cinderella being chased by a cleaning trolley. The costumes were also very creative – the characters each had a colour symbolic of them as a person. A fiery red for the prince, a regal blue for Cinderella.

Overall the performance was a true spectacle and a brilliant gateway to the world of opera.

Festival Opera

La Cenerentola

Festival Theatre

Emma Logan

four stars 

FOR the first time over 200 years ago in Rome, Gioachino Rossini showcased his new opera La Cenerentola to the world. And now it is back, more enchanting than ever. 

Stefan Herheim’s magnificent production of Rossini’s Cinderella opera tells the story of a young servant girl who is forced to clean by her governing step-father Don Magnifico while her wicked step-sisters prance around, fighting for the attention of Prince Ramiro. Little do they know, the prince is in disguise and the servant girl Cinderella is the one that he truly admires.

 A story of true love, Cinderella falls in love with the prince Ramiro, dressed as a servant while her step sisters fight over Dandini, the Prince’s servant disguise. 

Italian conductor Stefano Montanari conducts the opera de lyon orchestra with spectacular music that captivates the audience. Starting and ending with an empty stage, the opera is given a modern twist with Cinderella dressed as a modern day maid and stunning background visuals playing in the background throughout the story. 

Scotland’s own Katherine Aitken plays the role of Tisbe, one half of the evil stepsisters who share laughs with the audience when in a Scottish accent she removes Montanari from the stage. 

With vibrant costumes, effortless set changes and vivacious comedy, this spectacle is not one to miss.

Festival Opera

La Cenerentola

Festival Theatre

Frederick V Brown

four stars

THIS production of Rossinis La Cenerentola by Stefan Herheim and Opèra de Lyon was a captivating, must-see reworking of Rossini's reworking of the classic fairytale with a clever twist at the end!

The story follows Don Magnifico (Renato Girolami) who hopes to have one of his daughters Clorinda (Clara Meloni) and Tisbe (Katherine Aitken) marry the prince Don Ramiro (Taylor Stayton) in order to escape debt. Little do they know that Don Ramiro and his servant Dandini (Nikolay Borchev) have switched roles so that Don Ramiro could observe the women in secret, and he ends up falling in love with Don Magnifico's stepdaughter Cinderella (Michèle Losier) with the help of Alidoro (Simone Alberghini). Then of course you know the rest.... or do you?

By enhancing the opera 'buffo' aspect with clever devices and asides which flicks the audiences attention from different narratives in the tale-within-a tale the audience is transported in a whirl of music, songs and visuals to the inevitable denouement. The dream-like quality of the narrative is underlined by surreal interventions from the chorus, consisting of Oscar Wilde-like cherubs and courtiers. The music conducted by Stefano Montanari really fits the fast paced and whimsical tone of the opera along with its outstanding choreography.

A highly recommended outing, though better a seat on the lower floors, as it was impossible to see the actors on the extended stage from the upper circle.

Festival Opera

La Cenerentola

Festival Theatre 

Emma Shopland

five stars 

LA CENERENTOLA is a humorous, ingenious and engaging production, directed by Stefan Herhiem and conducted by Stefano Montanari. This 200 year old opera stems its plot from Cinderella but uses deception and humour to create a different perspective, which is both refreshing and captivating for all ages.  

Almost immediately the audience is engaged with the play, as the narrative is cleverly displayed, capturing everyones attention.  We are then introduced to Cinderella who is destined to clean the fire and sweep the floor whilst her stunningly dressed step sisters Clorinda and Tisbet argue over trivial matters. When the Prince declares that he will hold a banquet where he wishes to meet a girl who he will marry the deception begins.  Don Mgnifico, the father of the girls immediately enforces the idea that either Clorinda or Tisbet must marry the Prince, he makes it apparent that their wealth and future rests on this potential marriage and that love is not of any importance in comparison to status and wealth. 

As the story evolves and it becomes clear that there is no fairy godmother or glass slipper and that the wicked step mother has been replaced by an immoral absurd step father. However it is then revealed to the audience that Cinderella’s real dad is the Pope and the real Prince was disguised as a mere servant. Changing Cinderella’s fortune.

Through the dynamics of the music that the Opéra de Lyon Orchestra eloquently plays, the characters emotions are clearly portrayed whilst also creating an atmosphere that the whole audience understands. Weaved in throughout the play are hints if humour which are produced through narrative, props and elaborate costumes.

Festival Opera

La Cenerentola

Festival Theatre

Lindsay McLellan

four stars

ROSSINI’S realistic version of the fairytale “Cinderella” is as striking as it was two centuries ago. The up and coming stage director Stefan Herheim added a few tricks to the production to modernise such a classic opera. He not only brought Rossini in suspended from a cloud, but used an enormous mechanical fireplace and other fascinating props to bring this opera to life.

The star of the show was Michèle Losier, playing Cenerentola magnificently. She falls in love with the prince who switches roles with his valet in his quest to find innocence and goodness. This conveys a certain quality of feminism, for Cenerentola is no damsel in distress as the original fairytale paints her. Rossini’s lead makes it her mission for the prince to fall in love with her as well as actively challenging him to find her again in order to return her bracelet, rather than the glass slipper.

The dynamic between the sisters can be only described as comical and petty. The comedy is apparent throughout - especially when Don Magnifico enunciates his words so rapidly they are barely perceptible in his tongue-twisting ramble! This opera breaks the “fourth wall” by acknowledging and speaking to the audience in a humorous manner, extending the realism that Rossini intended.

I found myself watching the orchestra from the upper circle in admiration, the music was simple and minimalist and it complimented the singing perfectly. It never overpowered events on stage, blending with it, enforcing how opera brings all the arts to one performance. This was my first opera and even though certain parts confused me I was too entranced by the actual performance to remember to look at subtitles!