[ad_1]
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 occasions we reside in right now. There’s consolation in revisiting a widely known childhood fairy story, even in maturity. Although we already know the end result of the story, it’s the journey with the characters that we might uncover new issues, or reconnect with forgotten recollections.
The College of Toronto’s opera program gives singers with the coaching and expertise for his or her skilled careers. Tonight’s efficiency was a showcase of fantastic singing, marvellous dancing, and very good 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 on account of her tyrannical step-mother, Madame de Haltière. Even Lucette’s father, Pandolfe, is scared of her. We get an intimate glimpse into Lucette’s emotions as she sings that she’s 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 offered a carriage, attendants, a stupendous white robe, and, after all, glass slippers.
The second act is after we are first launched to the Prince (Le Prince Charmant), who’s extra despondent than charming after we first encounter him. His malaise shouldn’t 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 function 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 certain if her encounter with the Prince was only a dream. The royal entourage arrives. All the only 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 components on this manufacturing to thrill 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 look, they usually have fun with glee when she is lastly ousted from the house. The facial expressions, resembling side-eye glances and pouty lips, in the event you’re shut sufficient to appear 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, notably of Madame and her two daughters, was a journey by means of vogue historical past.
However, above all, it was the singing that was probably the most fascinating. Every singer had readability of their vocal supply, and was dedicated to telling the story. The solo arias had been participating. 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 nicely 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 had been nicely 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 in the course of 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 will probably be on the repeated March 15 by means of 17.
By Albert Wong for LvT
Are you trying to promote an occasion? Have a information tip? Must know the very best occasions occurring this weekend? Ship us a word.
#LUDWIGVAN
Get the each day arts information straight to your inbox.
Join the Ludwig Van Toronto e-Blast! — native classical music and opera information straight to your inbox HERE.
Ludwig Van is an unbiased digital information media web site supported by its viewers and sponsors. Our major focus is on arts protection, together with information reporting and criticism.
[ad_2]