Opera Queensland’s bloomed again on the QPAC Concert Hall stage as part of the Brisbane Bel Canto festival, now in its third year. Directed and designed by Laura Hansford, with Assistant Director Eugene Lynch, this semi-staged Cinderella story was sans fairy godmothers and glass slippers, but love and kindness triumphed in a flurry of flower petals.
Angelina lives with her arrogant stepfather, Don Magnifico, and her two indulged stepsisters, Clorinda and Tisbe, caring for them and their dilapidated manor. When the Prince’s tutor Alidoro arrives on their doorstep, disguised as a beggar, her stepsisters are disgusted but Angelina offers him something to eat. The household is then sent into a frenzy by the arrival of the Prince, Don Ramiro, who is seeking a bride. The Prince is also disguised, sending his valet Dandini in his place so that he can observe the true nature of the woman he will marry. The Magnifico household is invited to the ball, but Angelina is not permitted to attend, and her stepfather tells the Prince and his entourage that she is dead. Angelina later arrives at the ball anyway, escorted by Alidoro, and confesses her love for the Prince’s valet (who is really the Prince). She leaves without revealing her identity, but after much searching he finds her again in the house of Don Magnifico. Disguises are removed and truths are revealed – Don Magnifico and his daughters are horrified by the Prince’s choice, but in Angelina’s kind-heartedness and generosity of spirit they are all able to reconcile at the royal wedding.
Gioachino Rossini’s comedic opera La Cenerentola was first performed in Rome’s Teatro Valle in 1817, with the score completed in just 24 days and the libretto by his collaborator Jacopo Ferretti in 22 days. Rossini was only 25 when he composed La Cenerentola and its popularity came to rival that of his earlier (and enduring) success in the genre, The Barber of Seville.
Rossini’s score was performed live by the Queensland Symphony Orchestra, conducted by Richard Mills AM. Bel canto, which translates from Italian as “beautiful singing” is a florid style of singing that traces its roots to the Italian madrigal of the 1520s. The power of opera and orchestra in harmonious live performance is truly incomparable.
The opera was sung in Italian, with English surtitles projected above the onstage action on a long horizontal screen heavily adorned with pink and peach flowers. The surtitles also provided some narration, setting the scene and establishing the premise of this fairytale retelling.
Russian mezzo-soprano Margarita Gritskova played the starring role of Angelina/Cinderella, the kind-hearted stepdaughter who the disguised Prince falls in love with. From her first moments onstage, Gritskova brought incredible colour and control to the role as well as a shattering vocal power that contrasted with her gentle characterisation of Angelina.
Turkish tenor Mert Süngü gave a passionate performance as the Prince, Don Ramiro, and his disguised character watched with exasperation as Dandini (played brilliantly by Jeremy Kleeman) swaggered, flirted with the stepsisters, tossed rose petals over himself, and demanded the attention of his “valet”.
James Roser returned to the production as the flamboyant and self-important Don Magnifico, an excellent comic pairing with Kleeman’s Dandini. Sarah Crane and Hayley Sugars also reprised their roles as Angelina’s pampered stepsisters Clorinda and Tisbe, with padded hips and towering bouffants adding to their outstanding physical comedy, drawing audience attention even in the background. Shaun Brown brought his rich, resonant voice and considered gravitas again to the role of Alidoro, the Prince’s trusted advisor.
La Cenerentola is an opera buffa, a comic opera, and Opera Queensland’s production drew out the humour in both anticipated and unexpected ways. For example, the exceptional creative staging of the Prince’s search for Angelina through a storm, featured an industrial fan, handfuls of glittering “rain”, and flickering lightning as the Prince and his entourage moved across the stage and through the front rows.
Hansford’s set design was simple but charming, with a sheer pink backdrop and a few pieces of furniture that seemed overgrown with moss and flowers, evoking an enchanted woodland. In the same style, costuming by Karen Cochet and Bianca Bulley drew inspiration from both nature and couture to dress the lead characters in shades of cream and vibrant pinks and reds. Where the Opera Queensland Chorus’ basses and tenors were each dressed in unique costumes for last year’s La Cenerentola, the 2026 production saw the Chorus dressed sharply in matching suits with earthy colours and mossy details.
Lighting design by Christine Felmingham shifted audience attention across the minimalist stage, bathing most scenes in shades of pink and illuminating the royal household with the warm glow of fairy lights.
Opera Queensland’s La Cenerentola was a delight to revisit, filled with magnificent costumes, excellent comedic timing, and astonishing voices.
La Cenerentola was performed at the QPAC Concert Hall on 29 April & 2 May 2026
For further information, visit the Opera Queensland website
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