Cendrillon, Covent Garden - review - Music - Arts

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In fairness the Massenet/Henri Cain version of Perrault's evergreen fairytale is not quite the frothy confection it threatens to be for the first two acts. After the interval come some of Massenet's most heartfelt inspirations as first Lucette (the Cinderella figure) and her doting father, Pandolfe, dream of a happier future, and then she and the prince pledge their love in music of glowing rapture.

Laurent Pelly's imaginatively conceived production does its best for the pantomime elements. A backdrop created from the pages of the Perrault tale literally shapes the action and the grotesque, surreal aspects of the original are neatly encapsulated in the costumes (the Ugly Sisters trussed up like wrapped sweets, bulbous in the centre, ligatured at each end), gestures and movements (resembling demented automata).

The production, like the work itself, comes into its own in the third act, particularly in the enchanted forest, created out of bound volumes of the tales, the fairy godmother (Eglise Gutierrez) dipping into a pile of books in between flights of intermittently dazzling coloratura. Neither sets (Barbara de Limburg) nor lighting (Duane Schuler) are exactly magical, but that may be a conscious directorial choice.

Joyce DiDonato, slightly quavery at times, didn't shine as brightly in the title role as one might have expected, but her duet with Alice Coote's superlative Prince Charming - capturing to perfection the touching innocence of their passion - was a highlight. Ewa Podles was a formidable stepmother, while exasperation and empathy alike were etched into the tone of Jean-Philippe Lafont's henpecked Pandolfe. Bertrand de Billy's conducting was well-paced and stylish.

Until July 16 (020 7304 4000,roh.org.uk)

The Royal Opera: Cendrillon
Royal Opera House
Floral Street, WC2E 9DD