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- ConnectionsReferenced in The Metropolitan Opera HD Live: Massenet: Cinderella (2022)
Featured review
Magical 'Cendrillon'
When it comes to Massenet's best opera, it is between 'Manon' and 'Werther' for me. 'Thais' also has some lovely music and an affecting final scene. While there is a preference for Rossini's better known version ('La Cenerentola') of the fairytale, 'Cendrillon' is definitely well worthwhile, the story is true in spirit to the fairytale with even more magic, and the music is tuneful and beautiful, especially the Act 2 love duet.
Am familiar with 'Cendrillon' from the 2011 from the Royal Opera House, Covent Garden. Love that production. Also loved this 2018 Met revival. Of a particularly impressive and reasonably consistent season from the 'Metropolitan Opera HD Live' series (where even the weakest 'The Exterminating Angel' and 'Cosi Fan Tutte' were still worth watching), a very interesting series of live cinema transmissions where it feels like the real thing but much cheaper, it's a contender for my favourite of the season. It's pure magic of the highest order.
The sets are minimalist but not so much that it is unappealingly ugly and are imaginatively used. The costumes are lovely, did like that the servant's drab clothes were different in look to everybody else's exotic and fantastically glamorous ones.
Stage direction from Laurent Pelly is not what you call traditional, but it is imaginative without ever jarring or feeling distasteful, with sparkling wit (essential for an opera full of it), a real sense of atmosphere and understanding of the setting, story and characterisation and a strong emotional core. Never once is what it is that makes the story so timeless lost.
Musically, the production is outstanding. The orchestral playing is sparkling and has the right amount of depth as well, the chorus blend beautifully and the conducting from Bertrand De Billy is elegant, musical and with lots of energy and nuances with no questionable tempos, allowing the music to speak for itself in a sparkling way.
Joyce DiDonato is always consistently great, and her Lucette/Cendrillon shows vocal beauty and evenness as well as a charmingly commanding presence. Alice Coote sings with her usual beautiful rich voice, is dashing and convinces more than most other mezzos in trouser roles. She blends and works beautifully with Di Donato.
Kathleen Kim hits all the right high notes with a fresh tone and is so beguiling and benevolent that you do wish her for your fairy-godmother. Stephanie Blythe has a very powerful contralto voice and clearly enjoys herself to deliciously outlandish effect.
The spirits are enchanting and the stepsisters are characterful and delightful with no signs of overplaying. Laurent Naouri's father figure is sympathetically characterised and warmly sung.
In conclusion, magical. 10/10 Bethany Cox
Am familiar with 'Cendrillon' from the 2011 from the Royal Opera House, Covent Garden. Love that production. Also loved this 2018 Met revival. Of a particularly impressive and reasonably consistent season from the 'Metropolitan Opera HD Live' series (where even the weakest 'The Exterminating Angel' and 'Cosi Fan Tutte' were still worth watching), a very interesting series of live cinema transmissions where it feels like the real thing but much cheaper, it's a contender for my favourite of the season. It's pure magic of the highest order.
The sets are minimalist but not so much that it is unappealingly ugly and are imaginatively used. The costumes are lovely, did like that the servant's drab clothes were different in look to everybody else's exotic and fantastically glamorous ones.
Stage direction from Laurent Pelly is not what you call traditional, but it is imaginative without ever jarring or feeling distasteful, with sparkling wit (essential for an opera full of it), a real sense of atmosphere and understanding of the setting, story and characterisation and a strong emotional core. Never once is what it is that makes the story so timeless lost.
Musically, the production is outstanding. The orchestral playing is sparkling and has the right amount of depth as well, the chorus blend beautifully and the conducting from Bertrand De Billy is elegant, musical and with lots of energy and nuances with no questionable tempos, allowing the music to speak for itself in a sparkling way.
Joyce DiDonato is always consistently great, and her Lucette/Cendrillon shows vocal beauty and evenness as well as a charmingly commanding presence. Alice Coote sings with her usual beautiful rich voice, is dashing and convinces more than most other mezzos in trouser roles. She blends and works beautifully with Di Donato.
Kathleen Kim hits all the right high notes with a fresh tone and is so beguiling and benevolent that you do wish her for your fairy-godmother. Stephanie Blythe has a very powerful contralto voice and clearly enjoys herself to deliciously outlandish effect.
The spirits are enchanting and the stepsisters are characterful and delightful with no signs of overplaying. Laurent Naouri's father figure is sympathetically characterised and warmly sung.
In conclusion, magical. 10/10 Bethany Cox
helpful•10
- TheLittleSongbird
- Apr 29, 2018
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