Jules Massenet, Henri Caïn (libretto): Cendrillon. University of Toronto Opera, Conductor: Sandra Horst Director. Elgin Theatre, March 14, 2024. Repeats March 15, 16 & 17; tickets here.
The University of Toronto’s Opera presentation of Jules Massenet’s Cendrillon (Cinderella) this evening was a welcome respite from the challenging times we live in today. There is comfort in revisiting a well-known childhood fairy tale, even in adulthood. Even though we already know the outcome of the story, it is the journey with the characters that we may discover new things, or reconnect with forgotten memories.
The University of Toronto’s opera program provides singers with the training and experience for their professional careers. Tonight’s performance was a showcase of excellent singing, marvellous dancing, and superb acting. Tonight’s performance was of professional calibre.
The Story
The first act is devoted to getting to know Lucette (Cendrillon). Although she lives in luxury, she is an outcast due to her tyrannical step-mother, Madame de Haltière. Even Lucette’s father, Pandolfe, is fearful of her. We get an intimate glimpse into Lucette’s feelings as she sings that she will accept her fate. And, as fate would have it, her Fairy Godmother (La Fée) appears to grant Lucette’s wish of attending the Royal Ball. She is provided a carriage, attendants, a beautiful white gown, and, of course, glass slippers.
The second act is when we are first introduced to the Prince (Le Prince Charmant), who is more despondent than charming when we first encounter him. His malaise is not cured by the doctor, but by Lucette at the Royal Ball. There is no mistake when the clock begins to chime, and we feel Lucette’s anxiety of having to leave.
In the third act, Lucette is comforted by her father. She then seeks the Oak Tree of La Fée, where the Prince also happens to be. Here, they sing together about their love. The role of the Prince is sung by a soprano falcon. Much of the vocal range is shared by Lucette and the Prince, and, here when they sing together, it is a musical metaphor of the union of their love.
Lucette awakes in act four, not quite sure if her encounter with the Prince was just a dream. The royal entourage arrives. All the single ladies line up to try on the glass slipper, but it is revealed that Lucette is the owner.
The Production
There is no shortage of elements in this production to delight the eyes. Much of the comedy in this opera is physical, performed mostly by the ensemble. The servants quite visibly scurry and shake when Madame is about to appear, and they celebrate with glee when she is finally ousted from the home. The facial expressions, such as side-eye glances and pouty lips, if you’re close enough to seem them, are absolutely delightful.
The set and lighting are minimal but had great effect, creating a magical atmosphere. The opulence of the Elgin Theatre also added to the enchantment. The progression of the costumes, particularly of Madame and her two daughters, was a travel through fashion history.
But, above all, it was the singing that was the most captivating. Each singer had clarity in their vocal delivery, and was committed to telling the story. The solo arias were engaging. Ellita Gagner delivered Lucette’s first act aria “Ah! que mes soeurs sont heureuses!” with emotional depth. It was paralleled in the second act by the Lissy Meyerowitz, who portrayed the Prince. Ben Wallace‘s rich baritone voice lent itself well to portray Pandolfe as an authoritative but affectionate father. The tender and touching duet of Lucette (Gagner) and Pandolfe (Wallace) in the third act was nuanced singing at its finest.
The majority of the roles in Cendrillon are for sopranos and mezzo-sopranos. In the duets and small ensemble singing, all the voices were well balanced. One such exemplary instance was Lucette and the Prince’s duet (A deux genoux) by the Oak Tree sung in unison. Kcenia Koutorjevski and Teresa Tucci relished in their roles as Madame and La Fée, respectively.
The chorus was rock solid throughout the whole opera. The a cappella chorus for Lucette’s entrance at the ball was magnificent, and the off-stage singing during the Oak Tree scene added to the dreamlike quality.
This evening’s performance was a welcome revisit of a childhood favourite story.
The production is double casted, and will be on the repeated March 15 through 17.
By Albert Wong for LvT
Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.
#LUDWIGVAN
Get the daily arts news straight to your inbox.
Sign up for the Ludwig Van Toronto e-Blast! — local classical music and opera news straight to your inbox HERE.
