Reviewed by Anna-Celine Rautenberg

Stepping into the Sydney Opera House for Laurent Pelly’s production of Cinderella, presented by Opera Australia, felt like entering a whimsical fairytale. The anticipation in the air was palpable, and with a cast featuring some of Australia’s finest opera talents, expectations were high. Over the course of the evening, audiences were treated to a visually enchanting and musically rich performance that balanced humor, tenderness, and just the right amount of theatrical magic.

Having grown up knowing Cinderella as both a musical and a film, it was a truly special experience to see this beloved story interpreted through the lens of classical opera. Massenet’s score felt perfectly suited to the timeless nature of the fairytale, blending lyrical beauty with emotional depth. The fusion of the familiar narrative with the grandeur of opera added a new layer of appreciation, making it a unique and memorable experience.

One of the most intriguing aspects of this production was the casting of Prince Charming, played by mezzo-soprano Sian Sharp. While this may have been unexpected for some, Sharp brought a commanding presence to the role, her warm, resonant voice blending beautifully with Emily Edmonds’ Cinderella. Interestingly, despite being played by a woman, the character was always addressed as male, which gave the story an unexpected twist. I still find myself unsure whether I fully embraced this choice, but it undeniably added an extra layer of complexity to the character dynamic. Their duet was an absolute highlight, a moment of pure musical intimacy that captured the heart of the story. Edmonds’ Cinderella radiated sincerity, her voice carrying an effortless warmth that made her journey from despair to joy feel utterly real.

Emma Matthews, as the Fairy Godmother, delivered a performance nothing short of mesmerizing. Her crystalline soprano soared through the auditorium, infusing the role with a celestial quality that made her presence feel truly magical. Whenever she appeared, there was an undeniable shift in energy – a testament to her skill and charisma. Equally captivating in a very different way were Jane Ede and Ashlyn Tymms as Cinderella’s stepsisters. Their comedic timing was impeccable, eliciting laughter from the audience with their exaggerated antics, yet never veering into caricature.

Visually, the production took an elegant, almost storybook-like approach. Barbara de Limburg’s set design created an ever-expanding space that subtly drew the eye further into Cinderella’s world, while the innovative use of lighting added an ethereal glow to key moments. The ensemble played a crucial role in enhancing this effect, skillfully integrating luminous props into the action, lending an almost dreamlike quality to Cinderella’s transformation.

Performed in English, this adaptation made Massenet’s gorgeous score more accessible to new audiences, and while some of the finer nuances of the text occasionally blended into the music, the expressive performances ensured that the story’s emotional impact remained intact. The sweeping orchestration, led by the Opera Australia Orchestra, brought a lushness and warmth to the production, carrying the audience effortlessly through Cinderella’s magical world.

Perhaps the most touching moment of the evening was the duet between Cinderella and her father, Pandolfe, portrayed with great warmth by Richard Anderson. Their exchange, filled with tenderness and quiet sorrow, was profoundly moving – one of those rare instances where music and storytelling merge so seamlessly that time seems to stand still. It was a moment of pure theatrical magic, one that lingered long after the final note faded.

Overall, Cinderella delivered an evening of enchantment, humor, and heartfelt emotion. With its striking visuals, strong performances, and moments of true operatic beauty, this production reaffirmed why fairytales continue to captivate audiences of all ages. Opera Australia’s rendition may have had a few subtle challenges, but in the end, it transported us to a world where dreams take flight, and that is perhaps the most magical thing of all.