Rossini composed La Cenerentola in just 24 days, following the triumph of Il Barbiere di Siviglia. Its premiere in Rome in 1817 was an instant success, and it has delighted audiences ever since.
This new ENO production, opening the season, is colourful family entertainment with sprinkles of magic and pantomime. The action is set in modern dress, except for the all-male chorus, who appear in red period costumes as portraits of Prince Ramiro’s ancestors. They serve as constant reminders of his duty to marry and produce an heir. The characters are colour-coded in blue, pink, yellow, and purple. A well-conceived two-tier set with multiple rooms and a lift allows for farcical comings and goings through numerous doors.
Rossini’s version follows the classic Cinderella story but with some key differences. Downtrodden Cinderella/Angelina (in blue) still suffers her ghastly stepsisters (in pink and yellow) and horrid stepfather, who force her into endless housework. But there is no fairy godmother. Instead, we encounter Alidoro, the Prince’s tutor, sometimes joined by Cinderella’s mother’s ghost (in green). Disguised as a parcel delivery man, he is badly treated by the stepsisters but kindly received by Angelina. White mice in purple, armed with clipboards and iPads, usually accompany him. He provides Angelina with new clothes and transport to the ball—via a high-tech lift with metal doors. And instead of a glass slipper, she leaves a bracelet; in 1817 Rome, ankles could not be shown on stage, so Rossini made the substitution.
Translation is always a challenge with Rossini. The original Italian enhances the comedy with its onomatopoeia, double consonants, and rolled “r”s; the patter songs especially demand precision. Christopher Cowell’s witty new translation is superior to most, though not without flaws. Some Italian phrases remain—“sotto voce”—while others jar. Surely there is a better choice than “shut your trap, you noisy cow”? The greatest test is always the fifteen-page quartet questo è un nodo avviluppato, questo è un gruppo rintrecciato ( from Act II quintet). It demands the famous Rossini crescendos to build pace, excitement, and laughter; without this, the repetition drags. Here, the English translation relies heavily on “-tion” words, which neither capture the original nor achieve onomatopoeic humour.
Canadian mezzo Deepa Johnny is a sympathetic, vulnerable Angelina. From her entry aria Una volta c’era un re, we like her instantly—a vital quality for a fairy tale heroine. Her warm, expressive voice has impressive range and seemingly effortless coloratura. In the demanding rondo finale she navigates the challenges with ease, though more vocal fireworks in the repeat section would have dazzled even more.
British tenor Aaron Godfrey-Mayes is an attractive, credible Ramiro with solid coloratura. His Act II aria “Yes, I shall find her” is well sung, though it lacks the bravura and ringing top notes to fully ignite the cabaletta. Still, his chemistry with Johnny is convincing, and their voices blend well.
British baritone Charles Rice is an excellent Dandini—debonair, comic, and warm-voiced. His portrayal, in the vein of Figaro (a role he has sung here), is both witty and stylish. His duet with Ramiro allows both singers to shine.
Frankfurt-based British bass-baritone Simon Bailey almost steals the show as Don Magnifico. A luxury casting, given his international career, he combines vocal clarity with superb patter delivery.
British bass-baritone David Ireland makes an elegant, humorous Alidoro. British soprano Isabelle Peters (Clorinda) and mezzo Grace Durham (Tisbe) are suitably horrid stepsisters, though Peters’ voice is occasionally lost in the ensembles.
Taiwanese conductor Yi-Chen Lin, who has worked in Pesaro (Italy), clearly understands Rossini. She sets a rapid pace—sometimes slightly too quick for the singers to navigate the English text comfortably—but the energy carries the show.
Overall, this is a colourful, fast-paced production with excellent performances across the cast. The voices are well matched, and the staging is playful. Judging by the children’s enthusiasm in the audience and strong ticket sales, La Cenerentola proves a perfect introduction to Rossini.
Opera in two acts
First performance: Teatro Valle, Rome, 25 January 1817
Music by Giacomo Rossini
Libretto by Jacopo Ferretti
Conducted by Yi-Chen Lin
Directed by Julia Burbach
Cast: Deepa Johnny, Aaron Godfrey-Mayes, Charles Rice, Simon Bailey, David Ireland, Isabelle Peters, Grace Durham
Running time: 2 hours 45 minutes, including one interval
Until: 14 October 2025
Photo credit: Mark Douet