For the second time in its history, the Opéra de Québec has staged Gioachino Rossini‘s La Cenerentola.
Its first production was in 1996, in a production by Michel Nadeau. The work returns 29 years later in a refreshing and relaxed version under the direction of the actress Véronika Makdissi-Warren, who has transposed the action into the world of fashion. Don Magnifico’s castle is a Milanese modeling agency, the prince’s courtiers become a pack of journalists on the lookout for gossip, with microphones, notebooks and cameras, while Cinderella leaves the ball on a scooter and will lend herself to selfie sessions with her stepsisters!
The well-conceived staging focuses on the love at first sight of the couple Angelina and Ramiro, and it distinguishes between the two sides of the unattractive seamstress’s personality – whom Alidoro’s magic transforms into an incredible supermodel – the fatuity of Don Magnifico, and the vanity of his two daughters Clorinda and Tisbé. During the long overture, in front of the curtain, Prince Ramiro swaps clothes with his valet Dandini in order to escape his groupies and choose his fiancée quietly.
The set, by Christian Fontaine who designed Il trovatore in the spring, is sober and neutral enough to recreate, as needed, a couture workshop, a fashion show catwalk or the world of Prince Ramiro. Émily Wahlman‘s costumes play on contrasts: the extravagance of Cinderella’s stepsisters compared to the simplicity of the latter before her superb metamorphosis.
The cast is well balanced vocally, including both international and Quebec singers on the rise. They proved themselves in this particularly difficult and technically demanding opera, particularly through the extensive coloratura of their arias. They also made a strong impression in the dizzying and formidable ensembles such as the first act finale and the sextet of Act Two, “Questo è un nodo avviluppato.”
The role of Angelina (Cenerentola) has been entrusted to the young American mezzo-soprano Camille Sherman, who is making her Canadian debut in this production. She has a beautiful presence both as a seamstress and her family’s target, as well as a after she is transformed by Alidora into a supermodel. Vocally, she is very comfortable in coloratura and capable of great refinement, especially in the cavatina “Una volta, c’era un re.” More soprano than mezzo, she sometimes struggled to be heard in the opening ensembles. She asserted herself at the end of the first act and won over the audience in her final aria, “Non più mesta.”
Photo Credit: Jessica Latouche
Transformed into a supermodel, Angelina (Camille Sherman) captivates hearts in La Cenerentola
British tenor Joseph Doody, who was also making his Canadian debut at the Opéra de Québec, performed Prince Ramiro. The voice is clear and at ease in all registers, the high notes are easy and powerful, as is his fioratura, well showcased in his great aria with chorus, “Si, ritrovarla io giuro.”
The French baritone Christophe Gay – the Escamillo in last summer’s Carmen – works well as Dandini, the prince’s valet. He compensates for the fragility of his low notes with natural stage presence, showing a beautiful complicity with Ramiro in “Zitto, zitto, piano, piano” and with Magnifico in “Un segreto d’importanza.”
His compatriot, the baritone Jean-Luc Ballestra, who was part of the cast of Offenbach’s La vie parisienne in 2024, takes on more buffoon repertoire with Don Magnifico. Not always very comfortable with the breathless tempos that Rossini’s opera requires, he still managed to make his colorful character believable.
Already strong last summer in Carmen, soprano Odéi Bilodeau and mezzo-soprano Florence Bourget form an irresistible tandem in Angelina’s detestable stepsisters. Their acting is extremely convincing, and their voices harmonize very well and come across easily on stage.
One of the nice surprises of the evening was the Quebec bass Jean-Philippe Mc Clish, who served as a link between the main scenes and appeared, as needed, in various roles. His warm, powerful voice, with its beautiful legato, gave us a particularly moving scene in Act One when he announced to Angelina that her life was about to change.
A special mention goes to the men’s chorus, which plays a prominent role in this opera and was thoroughly prepared by Catherine-Élisabeth Loiselle.
Jean-Marie Zeitouni, recently appointed artistic and musical director of the Opéra de Québec, conducted the Orchestre symphonique de Québec with the enthusiasm and flexibility for which he is known, bringing out the orchestral finesse of Rossini’s score. His Olympian calm also enabled him to maintain the cohesion in the perilous vocal ensembles.
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