This splendid production of Rossini’s operatic version of ‘Cinderella’ displays all the strengths that make Hampstead Garden Opera such an invaluable part of London’s opera community. On a shoestring, and with a chamber orchestra and a simple set, their team of young singers gave a fine version of a bel canto opera that demands masterly technique and sophisticated musical style. And with a very special performance by Klara Solen in the title role, this was a night to remember.
Don Magnifico has two bratty daughters, one of whom he hopes to marry off to the fabulously wealthy Prince Ramiro. However, Ramiro and his servant, Dandini, swap identities and, while the girls mistakenly chase after the servant, the disguised Ramiro falls for Magnifico’s step daughter, the downtrodden and ill-treated Cenerentola. She has already won the approval of the prince’s tutor, who had experienced her kindness when he was posing as a beggar. He takes the place of the fairy godmother and ensures that she gets to the ball and entrances the prince. Magnifico and his daughters are finally thwarted and Ramiro publicly promises to marry her. She sings of her joy at her change of fortune but insists that the members of her cruel family are forgiven.
This glorious fairy-tale nonsense is set by director Finn Lacy and his team in a glittering box framed by hanging strips of shining material. Props suddenly appear through the shining curtain. Two ‘dolls house’ buildings – the palace of Ramiro and the mansion of Magnifico – appear and disappear behind the curtains. The costumes are from some strange timeless comedic universe – and this all contributes very effectively to the commedia del arte humour which drives the story.
The performances are consistently touching, funny and well sung and Klara Solen’s as Cenerentola is that and much more. Her lovely mezzo voice is warm and musical in the passages of pathos, and agile and accurate in the the moments of musical bravura. Particularly in the final scenes of the opera when she alternates between singing about her good fortune and about her wish to see her reluctant relatives forgiven, she reaches heights that lead one to hope she soon gets the opportunity to test her talent on bigger stages. Her Ramiro, Dumisa Masaka has a classic bel canto tenor voice, his high notes floated beautifully across the stage – in time, it will develop the power to cut through the ensemble more forcefully. The comic interplay with his servant Dandini played by James Quilligan worked a treat. Quilligan was an incongruous figure as a very tall fake prince, almost a pantomime clown at times, but with a lot more warmth and a fine baritone voice. The unkind step-sisters, played by Solveig Nesseth and Katey Rylands, were genuinely funny as they tormented Cenerentola – and themselves, in their futile quest for a princely catch. The small orchestra under Jonathan Darbourne took time to settle but by the end of act one they were fully tuned into the task of giving the singers the support they needed.
As ever, in the friendly acoustic of the Jacksons Lane theatre, young singers have the luxury of concentrating on tone and beauty and not on power – and this allows them to produce vocal performances of high quality as was the case here. Lets hope that there is still the chance for them to move on to sing on the big stages in the future.
Composer: Gioachino Rossini
Libretto: Jacopo Ferretti
Director: Finn Lacey
Conductor: Jonathan Darbourne
Performers incl: Klara Solen, Dumisa Masaka, James Quilligan.
Running time: 2hrs 30 mins
Dates: until 13 April
Photographs: Laurent Compagnon