Cinderella (La Cenerentola), English National Opera

Rossini’s La Cenerentola, first staged in 1817, is one of opera’s most beloved comic tales, a sparkling rags-to-riches story full of mistaken identities, rapid-fire patter songs, and uplifting arias. This season, English National Opera marks a bold start to its split-site era with a fresh, modern-dress revival of this fairy tale, retitled Cinderella, led by director Julia Burbach in her house debut.

Set in a contemporary world of online shopping and designer shoes, the story centres on Deepa Johnny’s Cinderella, now reimagined as a cleaner and personal assistant to her ghastly socialite stepsisters, Clorinda and Tisbe. Herbert Murauer’s sleek, 1960s-inspired two-level set cleverly doubles as home and palace, with a lift replacing the pumpkin carriage and an endless stream of parcels hinting at life lived through clicks. The ghost of Cinderella’s mother wanders silently through the scenes, while a team of children in mouse ears bustle about with clipboards and iPads. It’s whimsical, if at times unfocused.

Vocally, the production fares much better. Deepa Johnny brings warmth and poise to the title role, navigating Rossini’s fiendish coloratura with apparent ease. Her performance truly shines in Act II, when the pace slows and her voice is allowed to bloom. Aaron Godfrey-Mayes, as Prince Don Ramiro, is a calm and likable presence, but his voice occasionally gets lost, particularly during ensemble numbers. Charles Rice as the valet Dandini has charm but struggles to keep up with the fast patter lines, not helped by Christopher Cowell’s cumbersome English libretto, which feels both clunky and awkwardly shoehorned into Rossini’s melodies.

Simon Bailey, however, is a stand-out as Don Magnifico. His comic timing and crisp diction bring clarity and flair to the blustering stepfather. Isabelle Peters and Grace Durham delight as the Instagram-obsessed sisters, delivering screechy harmony and slapstick aplomb. Meanwhile, David Ireland gives gravitas to Alidoro, Rossini’s philosopher-turned-fairy godmother.

Yi-Chen Lin makes her ENO debut in the pit, driving the orchestra with enthusiasm, though sometimes at the cost of balance. There are moments when singers are drowned out by the sheer momentum of the music.

There’s charm and colour in this production, and moments of magic, the chorus dressed as portraits of ancestral ghosts is inspired. But despite strong singing and visual creativity, the humour often misses its mark and the staging lacks polish.

Image credit: ENO