Brisbane review - La Cenerentola (Cinderella): a beautifully realised production
- May 1
- 3 min read
By David Wilson
La Cenerentola (Cinderella)
Composer Gioachino Rossini
Libretto by Jacopo Ferretti
Conductor Richard Mills
Director & Set Designer Laura Hansford
Costume Design Karen Cochet and Bianca Bulley
Lighting Design Christine Felmingham
Associate Director Eugene Lynch
Chorus Master Narelle French
Presented by Opera Queensland in collaboration with the Queensland Symphony Orchestra
Concert Hall, QPAC
Remaining performance: 2 May 2026, 1:30pm
Running time approximately 3 hours including interval
Sung in Italian with English subtitles
Tickets $75 – $169 (very limited availability)
Opera Queensland’s staging of La Cenerentola at QPAC is a vibrant and deeply satisfying production that captures both the exuberance of Rossini’s score and the enduring warmth of this beloved tale. In a work where wit, humanity and musical brilliance intertwine, this production leans confidently into all three, delivering an experience that is as visually striking as it is musically accomplished.
First performed in Rome in 1817, La Cenerentola quickly established itself as one of Rossini’s most celebrated operas. Known for his extraordinary gift for melody and comedic timing, Rossini composed the work at remarkable speed, yet the result is anything but rushed. Instead, it stands as a masterclass in bel canto writing, brimming with sparkling ensembles, intricate vocal lines and emotional sincerity. Subtitled La bontà in trionfo (“Goodness Triumphant”), the opera offers a variation on the Cinderella story that replaces magic with humanity, rewarding kindness and integrity rather than relying on spectacle or revenge.
Director and set designer Laura Hansford brings this vision to life with clarity and cohesion. The production’s aesthetic is beautifully unified, with costuming and set design entirely in synch to create a visual world that is both cohesive and striking. The result is stunning, allowing the storytelling to unfold with elegance while maintaining a playful theatricality that suits Rossini’s style perfectly. Christine Felmingham’s lighting further enhances this visual harmony, shaping each moment with precision and warmth.
At the heart of the opera is Angelina, the gentle and resilient heroine, performed by the magnificent Margarita Gritskova. Her portrayal reflects unwavering strength and grace, her voice effortlessly navigating Rossini’s demanding vocal lines while maintaining emotional clarity throughout. It is a performance that anchors the entire production, capturing both the character’s humility and her quiet determination.
Opposite her, Turkish tenor Mert Sungu brings a commanding presence to Don Ramiro. His performance is assured and expressive, balancing regal authority with genuine sincerity as the prince in search of true love. Jeremy Gleeman is simply brilliant as Dandini, revelling in the role’s comedic possibilities while maintaining impeccable musicality. James Roser’s Don Magnifico is richly characterised, providing both humour and theatrical flair, while Shaun Brown lends warmth and gravitas to Alidoro, the opera’s guiding force of wisdom and compassion.
Completing the central ensemble, Sarah Crane and Hayley Sugars are wonderfully matched as Clorinda and Tisbe, bringing energy and precision to their roles as Angelina’s stepsisters. Their performances add colour and momentum, contributing to the production’s lively dynamic. Notably, it is wonderful to see four of the seven principal cast members being Australian-born, a testament to the strength and depth of local operatic talent.
The Opera Queensland chorus is in excellent form, delivering a performance that is both cohesive and spirited. Their contribution adds scale and vitality to the production, particularly in the larger ensemble scenes where Rossini’s writing truly comes to life.
Under the baton of Richard Mills, the Queensland Symphony Orchestra is, as always, outstanding. The orchestra finds the perfect balance between supporting the singers and showcasing Rossini’s intricate score, delivering a performance that is both precise and full of character. The synergy between orchestra and performers is evident throughout, elevating the production as a whole within the superb acoustics of the Concert Hall at QPAC.
What makes this production particularly rewarding is its sense of unity. Every element—design, performance, music and staging—works in harmony to serve the story. In embracing the opera’s central theme of goodness triumphing, the production delivers an experience that is both joyous and deeply satisfying, free from cynicism and grounded instead in warmth and humanity.
Opera Queensland’s La Cenerentola is a beautifully realised production that celebrates the enduring charm of Rossini’s work. It is an evening of musical and theatrical delight, and with very limited tickets remaining, I would strongly encourage audiences to seize the opportunity to experience it.
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