Rossini’s rendition of La Cenerentola, aka Cinderella, debuted in 1817 as an opera, the tale of a woman cast aside by her own family, who ascends the social ranks to become serendipitously linked to a prince or king has been told in one iteration or another around the globe.
LA Opera’s version of Cinderella sings another tune; it has no Fairy Godmother, pumpkin carriage, midnight curfew, or glass slipper but is a realistic version of a dysfunctional family dynamic, youthful romanticism, and important values of kindness and forgiveness that are indeed timeless.
A beggar comes to the house and he turns out to be an Angel that works on Cinderella’s behalf. The petulant step-sisters carry on with their non-verbal depictions of their tantrums in stereo, and run irritably around the stage, whining and kicking their beds in uproarious exasperation. And there is a case of mistaken identity all of which complement the quasi-modern and Baroque style production with its color extravagance and comedy making it a delightful crowd-pleaser.
It’s a perfect holiday production, as a memorable mix of funny patter, physical humor, and heartwarming moments that sustain the audience’s attention for the three-hour duration.
One would be hard-pressed to find an opera that keeps its audience laughing, manages to impress with stellar singing, and also leaves a lasting impression with its higher-minded themes about what true revenge is- LIVING WELL.
As we slowly emerge from the isolation of COVID to prepare for the holidays, you couldn’t ask for better relief, a more season-appropriate show. So do yourselves a favor — dress up festively, step out with your loved ones, and go see Cinderella so you can laugh boisterously (even through the masks) and feel somewhat normal.
So, happy to hear that you, enjoyed, this one. I heard the last one wasn't as enjoyable for you. Yes, I hope those that live in L.A.. take you up, on what you, enjoyed. Merry Christmas. Linda, I've heard Santa coming,to you and,your brothers house soon.