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Jules Massenet, Henri Caïn (libretto): Cendrillon. College of Toronto Opera, Conductor: Sandra Horst Director. Elgin Theatre, March 14, 2024. Repeats March 15, 16 & 17; tickets right here.
The College of Toronto’s Opera presentation of Jules Massenet’s Cendrillon (Cinderella) this night was a welcome respite from the difficult instances we dwell in in the present day. There’s consolation in revisiting a widely known childhood fairy story, even in maturity. Although we already know the result of the story, it’s the journey with the characters that we could uncover new issues, or reconnect with forgotten reminiscences.
The College of Toronto’s opera program supplies singers with the coaching and expertise for his or her skilled careers. Tonight’s efficiency was a showcase of fantastic singing, marvellous dancing, and excellent performing. Tonight’s efficiency was {of professional} calibre.
The Story
The primary act is dedicated to attending to know Lucette (Cendrillon). Though she lives in luxurious, she is an outcast resulting from her tyrannical step-mother, Madame de Haltière. Even Lucette’s father, Pandolfe, is petrified of her. We get an intimate glimpse into Lucette’s emotions as she sings that she is going to settle for her destiny. And, as destiny would have it, her Fairy Godmother (La Fée) seems to grant Lucette’s want of attending the Royal Ball. She is supplied a carriage, attendants, an attractive white robe, and, after all, glass slippers.
The second act is once we are first launched to the Prince (Le Prince Charmant), who’s extra despondent than charming once we first encounter him. His malaise will not be cured by the physician, however by Lucette on the Royal Ball. There is no such thing as a mistake when the clock begins to chime, and we really feel Lucette’s anxiousness of getting to depart.
Within the third act, Lucette is comforted by her father. She then seeks the Oak Tree of La Fée, the place the Prince additionally occurs to be. Right here, they sing collectively about their love. The position of the Prince is sung by a soprano falcon. A lot of the vocal vary is shared by Lucette and the Prince, and, right here after they sing collectively, it’s a musical metaphor of the union of their love.
Lucette awakes in act 4, not fairly positive if her encounter with the Prince was only a dream. The royal entourage arrives. All the one girls line as much as attempt on the glass slipper, however it’s revealed that Lucette is the proprietor.
The Manufacturing
There is no such thing as a scarcity of parts on this manufacturing to please the eyes. A lot of the comedy on this opera is bodily, carried out largely by the ensemble. The servants fairly visibly scurry and shake when Madame is about to seem, and so they have fun with glee when she is lastly ousted from the house. The facial expressions, resembling side-eye glances and pouty lips, should you’re shut sufficient to look them, are completely pleasant.
The set and lighting are minimal however had nice impact, making a magical environment. The opulence of the Elgin Theatre additionally added to the enchantment. The development of the costumes, significantly of Madame and her two daughters, was a journey via style historical past.
However, above all, it was the singing that was essentially the most fascinating. Every singer had readability of their vocal supply, and was dedicated to telling the story. The solo arias have been partaking. Ellita Gagner delivered Lucette’s first act aria “Ah! que mes soeurs sont heureuses!” with emotional depth. It was paralleled within the second act by the Lissy Meyerowitz, who portrayed the Prince. Ben Wallace‘s wealthy baritone voice lent itself properly to painting Pandolfe as an authoritative however affectionate father. The tender and touching duet of Lucette (Gagner) and Pandolfe (Wallace) within the third act was nuanced singing at its most interesting.
Nearly all of the roles in Cendrillon are for sopranos and mezzo-sopranos. Within the duets and small ensemble singing, all of the voices have been properly balanced. One such exemplary occasion was Lucette and the Prince’s duet (A deux genoux) by the Oak Tree sung in unison. Kcenia Koutorjevski and Teresa Tucci relished of their roles as Madame and La Fée, respectively.
The refrain was rock strong all through the entire opera. The a cappella refrain for Lucette’s entrance on the ball was magnificent, and the off-stage singing throughout the Oak Tree scene added to the dreamlike high quality.
This night’s efficiency was a welcome revisit of a childhood favorite story.
The manufacturing is double casted, and might be on the repeated March 15 via 17.
By Albert Wong for LvT
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