We seem to be having an opera festival in Melbourne at the moment. While a season of Rossini’s The Barber of Seville finished at the Regent Theatre courtesy of Australia’s flagship company, a comparatively “Cinderella” company of students from the Melbourne Conservatorium of Music began delighting audiences with Massenet’s Cendrillon at the University of Melbourne’s Union Theatre. Both productions were highly entertaining and featured some really excellent singing. In some cases, the distance between emerging and fully-fledged did not seem as great as one would expect. Superb melodious scores and plots with happy-ever-after endings that incorporate plenty of comic action along the way are bound to appeal.
It was a pity the cast lists and Johanna Allen’s Director’s Notes were not made more easily accessible. If someone else had bought your tickets, you would not necessarily know who sang or did what, including the fact that this version, prepared by Andrea Katz, was shorter than Massenet’s 1899 original. Nor would you have the benefit of gaining an insight into the director’s thoughts regarding how a modern audience relates to the characters and events. In Madame de la Haltière and her two “ugly” daughters, Noémie and Dorothée, Allen sees an “identifiable trope” as the Kardashian-type trio “stop at nothing for power and beauty … ascension and social standing.” She sees Lucette (Cendrion) not as a victim but one who, though essentially powerless, is “practical, pragmatic and determined to remain true to herself”. She summarises the conflict as “Excess fairytale meets anchored love”.
Whether feminist hackles rise in the face of what could be seen as a succession of potentially harmful stereotypes, earnest “woke” inclinations are quickly overridden by the many charms of this production. Instead of the usual Prologue we saw a spotlight at the side of the curtain, a wand appear and then the wielder of the magic: the Fairy Godmother. With a flourish from orchestra and wand the curtain lifted to reveal a simple set bathed in rosy light.
Set designer Ivy Miller and Lighting Designer Richard Vabre and Costume Designer Maya Anderson created an attractive and highly functional setting for the Fairy Godmother’s magical machinations. A background wall with three arches, a table with chairs (mostly on wheels) and a chaise longue comprised most of the furniture for the duration. Twelve chandeliers descended to form a “dreamscape” atmosphere for the ball and a longed-for rural life for Lucette and her put-upon father. Projected images of a starry sky and a lush green countryside gave further poignancy to Lucette’s dreamings. The white furniture and the numerous white shopping bags of Madame and her daughters were an effectively stylized design point, and, along with the grey costumes of the white-haired servants, provided a strong contrast to the lurid confections worn by the sisters. Simple wings converted the chorus from servants into fairies, and candy-hued costumes were perfect for the simpering princesses vying for the Prince’s attention. Apart from the arrival of Lucette’s ball costume, a theatrical highlight was her departure for the ball on an ingeniously contrived carriage.
Johanna Allen is credited as Director/Choreographer of Cendrillon – an unusual double act, but an indication of the vital role choreography plays in this production. Carefully designed movement as chorus and principals formed a host of effective groupings was an integral element, and was executed seamlessly. The busy chorus members not only grouped and regrouped like a well-drilled murmuration of starlings, but also sang with full-toned discipline, the sopranos particularly impressive in the brilliance of their top notes.
In the key role of Fairy Godmother Ashley Chua was a delight – full of sparkle and positive energy. She was the only one in a principal role to sing all performances, the technical strength of her attractive coloratura soprano voice and her winning personality definite assets that set the tone of the production. It was interesting to see her in this role after seeing her as Poppea earlier in the year – a very different performance, but one that impressed in its knowing powers of seduction. The other Poppea, Chloe Taylor, was a more sensuously languid seducer but equally compelling in that production. Her Lucette also displayed a further dimension to her artistry as an opera singer. She looked the part and gave a very well-projected performance vocally and dramatically. The duet with Isaac Burgess as her father, Pandolfe, was sung with touching sincerity and pleasing tone by both singers. In the alternate cast, Millicent Brake and Leyland Jones were also very appealing as the daughter/father pair. Brake has a sweet vivacity well-suited to the title role.
What great roles the stepmother and stepsisters are. And how impressive those six young singers were! Mezzo-soprano Brittney Northcott is one of those singers who commands attention. Those who had heard her Nero in The Coronation of Poppea would have realised that this was a singer with a successful career ahead of her. Her voice is substantial and secure from top to bottom chest notes without being forced. She is also a confident character actor. Along with Zoe Lancaster as Noémie and Sophie McGetrick as Dorothée, they made an exceptionally strong trio – well-coordinated and beautifully sung. Lancaster was wonderful as the tiny pert sister, fully immersed in the role and having a lot of fun. (She had much more appeal than any Kardashian.)
Mia Koutsoumidis is really something. In addition to singing the role with exuberant ease, her Madame de la Haltière was hilarious. When it comes to comic timing, she has a real gift. Her Nurse in Poppea had been an absolute comic standout – physical and daring – and this was just as strong in its way. As her daughters, Sarah Amos (Noémie) Erin Absalom (Dorothée) worked very well together and made a fine vocal trio.
In the “pants role” of Prince Charming, mezzo-sopranos Tessa McKenna and Samantha Anderson-Mayes, gave strong performances, with McKenna’s top notes being particularly impressive. The role is not exactly an endearing one – the Prince acted more like a spoiled brat when he first appeared – but both singers engaged our sympathies as he lamented his loneliness and found true love.
The singers playing minor characters: The King (Zhuoyang [Sunny] Li; Master of Ceremonies (Kate Pengelly); Prime Minister (Harriet Johnston); and Dean of the Faculty & Royal Herald (Martyn Arends) all sang well and made the most of the special comic elements of Allen’s production, whether wearing oversized crowns or whizzing around on a mobile chair.
As one of Western culture’s most popular fairy tales (for better or worse) the story of Cinderella does not need to be sung in English for an audience to follow the plot – although the surtitles were certainly very helpful. But Massenet’s music is best heard sung in French as the original language marries best with the music and is an important part of the general ambiance. It is also best practice to train young opera singers in the languages of the roles they will sing in future around the world. Both Cendrillon casts managed the French language well, even though, for some, getting rid of those Australian vowels is still a work in progress.
Performing with a chamber orchestra of 11 highly competent players under the baton of Paul Fitzsimon on a capacious, properly equipped stage in a modern theatre with a pit is a valuable part of young artists’ training. It is also a great opportunity for an audience to watch their development. Some members of the audience were seeing a University of Melbourne/Victorian College of the Arts production for the first time and were astonished at the quality of what they saw. They and the “regulars” eagerly await next year’s offerings.
Photo credit: Ben Fon
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Heather Leviston reviewed “Cendrillon”, presented by Melbourne Conservatorium Opera and Orchestral Performance and VCA Design and Production at the Union Theatre, University of Melbourne on November 5 and 6, 2025.
