Rossini's panto for grown-ups - Music - Arts - Evening Standard
       

Rossini's panto for grown-ups

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A friend once complained that opera was "pantomime for grown-ups"; the put-down actually summed up at least some of opera's appeal. Both forms rejoice in such well-worn narrative formulae as larger-than-life villains, thwarted lovers and happy endings that redeem whatever unpleasantnesses have gone before.

So it is in Rossini's La Cenerentola, the best-known of several operatic versions of Cinderella. The composer even throws in just enough of the "bah, humbug" moments that in panto would guarantee the audience's hisses. As for what makes it grown-up, the fantasticated singing Rossini demands is nobody's idea of child's play.

Patrice Caurier and Moshe Leiser's Covent Garden production updates the opera to 1950s Italy. That allows a facile glamour and allows the singers room to tackle whatever challenges Rossini throws at them.

And what challenges. Conductor Evelino Pidò ensures that the music's excitable nature never overpowers the voices but Rossini can trip up even the most athletic singers. Nevertheless, Covent Garden's cast copes well. While Toby Spence's handsome Prince, pushed into uncomfortable areas by the exorbitant high notes, never quite sounds anything but English, he has the pale charm the role demands.

The lower male voices had greater vigour; as Dandini, the valet, Stéphane Degout held the treacherous musical line with graceful ease. He developed a throat problem two-thirds of the way through Act One but sang on with consummate professionalism.

The compelling vulgarity in Alessandro Corbelli's Don Magnifico, Cinders' wicked stepfather belongs to a comic tradition that embraces the deadpan of Groucho Marx and the goggle-eyed mania of Marty Feldman. That Corbelli sings better than either is something of a bonus.

All are put in the shade by Magdalena Kozena's Cinders. She has little of Cecilia Bartoli's hyperventilating exuberance. Her delivery is more natural, even conversational, no mean achievement in music of such rococo excesses.

A darkness in the voice, particularly in its lower reaches, adds depth to the character. If her stage presence is rather stiff, her musical skills are ample compensation. She has said Rossini is not her favourite composer; you wouldn't know it from this performance.

Until 9 January (020 7304 4000).

The Royal Opera: La Cenerentola
Royal Opera House
Floral Street, WC2E 9DD

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