Cendrillon

When it comes to Massenet's best opera, it is between Manon and Werther. Thais also has some lovely music and an affecting final scene. While I do prefer Rossini's 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 characteristically with Massenet reflects the emotions of his operas' roles. This 2011 production is pure magic. The sets are minimalist but not so much that it is unappealingly ugly. The costumes are lovely, I did like that the servant's drab clothes were different in look to everybody else's exotic ones. The stage direction is not what you call traditional, but it is imaginative without jarring or feeling distasteful. The orchestral playing is sparkling and has the right amount of depth as well, the chorus blend beautifully and the conducting is elegant and musical with few if any questionable tempos. 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. Eglise Gutierrez 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. Ewa Podles has a very powerful contralto voice and is deliciously outlandish as the stepmother. The stepsisters are characterful and delightful with no signs of overplaying. Jean-Phillippe Lafont's father figure is sympathetically characterised and warmly sung. In conclusion, magical. 10/10 Bethany Cox

This is the first time I have seen Massenet's charming version of the Cinderella story. It makes an interesting comparison with Rossini's Cenerentola. Whereas Rossini eschews magic and has the Dandini subplot, Massenet's is a traditional telling of the story with plenty of fairies and magic. Massenet's music is tuneful without ever challenging the genius of Rossini's version. Joyce DiDonato makes the most of her music as Cendrillon. Alice Coote, as Prince Charming, seems slightly less comfortable possibly because of her small stature next to DiDonato. However the love duets between the two are the musical highlights of the opera. Eglise Gutierrez's performance as the Fairy Godmother is a tour de force. Dressed like Shirley Bassey, only with wings and with eye-popping cleavage she makes a big impression with the Queen of the Night-type music that Massenet gives her. She has a scene in the enchanted forest where the she draws an invisible barrier between the two lovers so that they cannot see each other that reminded me of the television programme Blind Date.

There is stalwart support from Jean-Philippe Lafont as Cendrillon's father and Ewa Podles as the stepmother. Madeleine Pieraud and Kai Ruutel play the not-so-ugly sisters. The two sisters do not have much singing to do but their amusing stage business, along with their mother, do much to enhance the charm of this production. This being a French opera, there are also a couple of ballets. I also like the maids in drab grey cardigans who assist Cendrillon in her transformation. They reminded me of the mice in the Walt Disney film but I suppose I got that the wrong way round since Massenet got there first.

The opera is directed by Laurent Pelly whose productions I either love or hate. He seems to excel at comedy, the problem being that he tries to turn everything into a comedy. No problem in this opera though. I also liked the design which was just two walls with the story of Cinderella, in French, written on them. The costumes are spectacular with the stepmother and the two daughters wearing fantastic creations that are huge at the hips tapering to nothing at the ankles.

Sadly, Joyce DiDonato does not get the big number at the end that you get in Cenerentola. Nevertheless this is an enchanting production of a rarely-heard opera.