The theme of the Portland Opera’s 2007-2008 season is “Great Women
of the Stage.” Indeed, this year’s operas include the
greats—Carmen, Rodelinda, Aida, and… Cinderella?
I will admit some Cinderella-related skepticism at first, but,
considering Gioachino Rossini (The Barber of Seville) penned
this opera, and that Rossini’s version differs slightly from the fairy
tale, I arrived with great expectations. Reportedly, Rossini wanted no
magic in his operatic version of the story; unfortunately,
magic—literal and figurative—is exactly what this
production is lacking.
In Rossini’s account, Cinderella has two horrible (yet amusing)
stepsisters, while her true bane is her stepfather (no stepmother
here). Relegated to wearing rags and serving her stepsisters,
Cinderella is dismissed as “below a servant” by stepdad Don Magnifico.
When the family hears that Prince Ramiro is not only throwing a ball
but also searching for a bride, Cinderella is summoned to help her
sisters primp and preen. When she asks Don Magnifico if she can attend
the ball as well, he scoffs and leaves her to her mop and bucket.
Besides the fairy godmother (here a ragamuffin) and the glass
slipper (here a set of matching bracelets), the rest of the story
sticks to the traditional script. Cinderella arrives at the ball in
unimaginable splendor, shocking her stepsisters and nabbing the
prince’s heart. The production, however, boasts little splendor.
Granted, the Portland Opera’s sets typically display a sophisticated
minimalism. The stage of Cinderella, however, appeared much too
sparse. This production lacked even the illusion of spectacle.
Cinderella, however, is probably a fitting introduction to
opera; it’s a good one to see with your mother when she’s visiting from
out of town; it’s appropriate for a Sunday matinee. A comedy,
Cinderella doesn’t really have much at stake. If you’re looking
for magic in an opera—something that Portland Opera is certainly
capable of generating—this is not the right show for you. I’m
eagerly anticipating Rodelinda, the next production on the
schedule. That should be one for seasoned operagoers, one fitting for a
Friday night show, and one where an appropriate date is someone you’d
like to bang in the back seat (ideally not your mother).