Primi Divi

Chelsea Opera Group at the Queen Elizabeth Hall

1st June 2008

If there is, one, great story, of romance, above, all other, great stories, it is the story, of Cinderella. Every girl, and, most likely, every boy, too, dreams, sometimes, of meeting, that special someone, who will transform, their very life, from cinders, into happiness. It might not be, always, a desire, for the literal, delineation, of these dreams, as, here, in this opera, transpires, but, the longing, for any transformitive improvement, in your destiny, can be, so compared.

There is no, nesessity, of relating, the tale, of that great romance, Cinderella. I am certain, that you know it, and have done so, since your very birth. Although, I confess, I had not beheld, nor even heard, this great opera, before, I knew it, actually, more intimately, than La Cenerentola. In Rossini’s great, if frivilous, opera, there is no fairy godmother, but, instead, an old philosopher, who gains, by means of cunning, anonimous entry, to the home, of Cinderella. Here, in Massenet’s splendiferous, epic, we are permitted, to see the chronicle, as intended, at this story’s conception.

The music, flowed melifliously, from the venerous, orchestra, of the Chelsea Opera Group. At least, I believe, that this is their name, the programme, appears not to give, the orchestra’s identity. This is an opera of the most profound passions, but also, an opera, of peculiarity. Cinderella, is not a soprano, and the Prince, is not a tenor. Strangely, inconceivably, both are mezzo-sopranos. I can conclude, only, that Cendrillon, is a mezzo, because she sweeps floors, and the Prince is a mezzo, because a tenor, would never accept, so insubstantial, a role. One point, in Rossini’s favour, is that, the Prince, has a considerable quantity, to sing, so he could, reasonably, cast a tenor.

Liora Grodnikaite, a former Jette Parker Young Artist, of the ROH, sang the role of Cendrillon, and gave, for a mezzo-soprano, a performance of considerable monumentality. Unlike the others, she sang, without her music, and was able, therefore, to circumnavigate the stage, and to turn, this way and that, in her reactions, to the other characters. Liora has always, had a great affinity, for Massenet, and the role of Cendrillon, she sang, with extreme beauty and gentility. Yet, her Cinderella, was not, a victim. She moved, throughout, with potency, and dignity, whether, she was, in servility, or finery. Her costume, I must declare, however, was disappointing. She wore the same, black, plain, dress, throughout the opera’s, entirity.

The Prince, was Emma Selway, who had not, the masculinity, for such a role, but, in her femininity, might consider that, a compliment. Her voice, was attractive, but rather thin, in its tonality. Judith Howarth, as the Fairy Godmother, in a gown, of voluptuous, green, looked, appropriately, like a Christmas tree, but was, somewhat, shrill. The Ugly Sisters, Anna-Clare Monk, as Noémie, and, Harriet Williams, as, Dorothée, looked most beautiful, in dresses of fashion.

Elizabeth Sikora, as the Wicked Stepmother, dressed, revealingly, for a lady, of her, superior, years, but the starkly, scarlet, dress, so suited, her role, as the Wicked Stepmother, who was vulgar in character, I wholeheartedly, forgive her. It is not a voice, of, transparent, beauty, but of, significant, personality, with inordinate, characterisation.

Roderick Earle, for I believe it was, he, although, the announcement being given, in such tones, of softness, I could not be certain, sang with the greatest, bravery, with a throat infection. He, quite plainly, suffered, but his role, with its narratorial, quality, and its buffoic, nature, did not demand, beauteous singing, but, the ability, to comediate, and this, Roderick possessed, in exessive, amounts. Adrian Powter, Philip Sheffield, Wyn Pencarreg, all singers, and Dominic Wheeler, not only, the sensuous conductor, but also, personifying, the speaking role, of the Herod, completed, this accomplished, cast.

Violetta

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