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| Joyce DiDonato as "Cendrillon" (photo: Metropolitan Opera) |
One might feel the loss of the two lovable Disney characters, Gus and Jaq, but never fear; this Cendrillon (or Cinderella), a Metropolitan Opera premiere, doesn't scrimp on the level of fantasy from Composer Jules Massenet and Librettist Henri Cain. Based on the beloved Perrault story (and far darker than the Disney film version), it surrounds the titular chimney sweep with magical elements and morphing mice. Massenet, having written over two dozen operas between 1867 and 1912, is best known for his Manon. His take on the Cinderella story was first performed in 1899, with the theme that would define most of his operatic composition: female fragility; and, also true to form, he provides a subtitle that describes the opera's character, namely conte de fees, or “fairy tale”. This, though, is by comparison a rather grim fairytale, unlike Rossini's more familiar opera buffa, Cenerentola. At the center of the four separate worlds stands our heroine, whether she is in the romantic world with her love-at-first-site (her palace debut) Prince Charming, or that of her dystopic stepfamily, or her close relationship with her devoted if bumbling father, or the magical world of fairies; as she herself puts it, “my work is here, and I must finish it”.
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| Kathleen Kim in "Cendrillon" (photo: Metropolitan Opera) |
In a storybook kingdom, widowed country gentleman
Pandolfe (bass-baritone Laurent Naouri) has just remarried the
imperious countess Madame de la Haltiere (mezzo Stephanie Blythe).
She and her two daughters Noemie (soprano Ying Fang) and Dorothee
(mezzo Maya Lahyani) bully Pandolfe's daughter from his first
marriage, Lucette, known as Cendrillon (mezzo Joyce DiDonato). A ball
is to be given at the Court, and Madame tells her daughters how to
behave at one. She refuses to let Cendrillon attend, so they all
leave her sitting by the fire, dreaming of the forbidden ball. Her
Fairy Godmother La Fee (soprano Kathleen Kim) appears and magically
provides a coach, horses, a gorgeous gown and glass slippers. She
tells Cendrillon she may attend the ball after all, since wearing the
slippers will prevent her stepfamily from recognizing her, but she
must leave the ball by midnight. At the ball, Le Prince Charmant
(mezzo Alice Coote) has been ordered by his father Le Roi
(bass-baritone Bradley Garvin) to choose a bride. Suddenly a
mysterious female (who we know is Cendrillon) appears and captivates
all (except her stepfamily), especially the Prince who falls
instantly in love, as does our heroine; on cue, she swiftly leaves as
the clock strikes midnight. All the assembled royalty are then in a
tizzy, including Le Doyan de la Faculte (tenor Petr Nekoranec), Le
Surintendant de Plaisirs (bass David Leigh), Le Premier Ministre
(bass-baritone Jeongcheol Cha) and various Spirits, Jeunes Filles,
and a Herald. One positive event: the mysterious young woman has
accidentally left behind one of her glass slippers.
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| Joyce DiDonato as "Cendrillon" (photo: Metropolitan Opera) |
So far, so familiar, for the most part. Once home,
Cendrillon heads off to die in the forest, where the Prince is
searching for her. Her Fairy Godmother allows them to see one
another, and they fall into an enchanted sleep. Later, the Prince,
back at his castle, proclaims that all young women in the kingdom
must revisit, to try on the slipper left behind, even Cendrillon's
family. For Cendrillon, the shoe fits, so they must acquit. All
rejoice and hail their future queen. Fortunately, the really dark
elements of the original tale aren't included; for more of that sort
of thing, check out the musical Into the Woods, by
Composer/Lyricist Stephen Sondheim and Librettist James Lapine, who
fill in the gorier parts.
In this world of dreams and innocence, it's absolutely
appropriate to find oneself in a mystical production such as this.
Beautifully conducted by Bertrand de Billy, with Production and
Costume Design by Laurent Pelly (hilarious outfits all around),
clever Set Design by Barbara de Limburg. Lighting Design by Duane
Schuler and Choreography by Laura Scozzi (at times a bit too silly).
The Metropolitan Opera Chorus, under Chorus Master Donald Palumbo,
was in fine fettle. The Live in HD Direction was by Gary Halvorson;
the gracious Live in HD Host was Ailyn Perez. The singing was a joy
as always to hear, as well as to see DiDonato in a role she's owned
for decades, ably supported by Coote and Blythe and even Naouri in a
role not usually given prominence in Cinderella operas; and one
shouldn't overlook the spectacular range demonstrated by Kim.
Meanwhile, all in the kingdom live happily ever...well,
you know the drill.
The Live in HD Encore Broadcast will be shown next Wednesday May 2nd at a theater near you.
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