With Tropical Cyclone Alfred heading towards our city, ferries removed from the river and residents preparing for the worst, I anticipated that this performance would be cancelled. I was wrong. The show went on. I’d underestimated the fortitude of our Queensland arts sector.
Just before noon on Tuesday, Opera Queensland announced that opening night of La Cenerentola (Cinderella) would go ahead. In the face of an uncertain immediate future, it was the right decision. Many livelihoods revolve around a performance at QPAC and who knows when we can all gather there again… The venue is riverside, and the flooding, havoc and closures of 2022 is a recent memory.
La Cenerentola is an Italian operatic drama performed in two acts. It is a giocoso- similar to a pantomime with jokes played and the drama and characters exaggerated for comic purposes. It’s lengthy – including interval, the performance lasts three hours.
Since it was penned, the tale of Cinderella has had numerous incarnations on screen and stage. This was the first time I’ve ever seen it interpreted as an opera.
Whilst the storyline of Cinderella is well known, Gioachino Rossini and his librettist, Jacopo Ferretti made some pragmatic changes. All in the name of operatic harmony and balance. Replacing the stepmother and fairy godmother with a stepfather and manly advisors to the prince brings in the male vocals.
Opera is renowned for its lavish stagings and costumes. This production is minimalist which makes it ideal for touring and a quick set up and pack up before a cyclone hits.
The cast list is impressive reading. These prestigious vocalists have been carefully trained, primarily internationally in renowned conservatories. Their performance bios are already extensive and they are still young.
Leading lady, mezzosoprano, Mara Gaudenzi as Angelina (Cinderella) is Italian. We are privileged that she has made her Australian and Queensland operatic debut here in Brisbane. Mara portrayed a downtrodden, demure Cinderella but the beauty and strength of her voice soared beyond the humble circumstances.
Her two stepsisters, Clorinda and Tisbe were hilariously played by soprano Sarah Crane and mezzo-soprano Hayley Sugars. They were an audience delight in their too tight, Barbie pink outfits
Also making his operatic debut in Australia is Czech tenor Petr Nekoranec as Don Ramiro. The even tones of his tenor vocals provided a balance between the highest and lowest voice ranges of the other vocalists.
Baritones Samuel Dundas, James Roser and Shaun Brown took to the stage as Dandini, Don Magnifico and Alidoro. Dundas is a regular performer in Australia and New Zealand. I last saw him when he played Enrico in Opera Queensland’s Lucia di Lammermoor.
James Roser swapped professions when he exchanged a career in environmental science for a successful one in opera. He wore a statement pink suit patterned with large red roses. Shaun Brown delivered loads of hilarity in his role as Alidoro. Those sexy poses and his eagerness to show us his hairy chest provided mirth.
La Cenerentola (Cinderella)
Concert Hall – QPAC, Cultural Precinct, South Bank (Brisbane)
Performance: Tuesday 4 March 2025
Next Performance: Saturday 8 March 2025
Bookings: www.qpac.com.au
For more information, visit: www.oq.com.au for details.
Images: Mara Gaudenzi and Petr Nekoranec in La Cenerentola – photo by Jade Ellis | Sarah Crane, Hayley Sugars and Mara Gaudenzi in La Cenerentola – photo by Jade Ellis | James Roser and Ensemble in La Cenerentola – photo by Murray Summerville