La Cenerentola (Cinderella) - Opera Queensland & Queensland Symphony Orchestra

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Tue 04 Mar 2025 - Sat 08 Mar 2025

Reviewed on 4 March 2025

Opera Queensland’s production of La Cenerentola at its best is a finely tuned blend of superb musical talent, engaging comedy, and delightful performances. Rossini’s operatic retelling of the beloved Cinderella story may not offer the traditional magical moments like a fairy godmother or a coach turned from pumpkin, but the production has moments of humour and charm, and a great deal of impressive vocal work.

Yet there are a few elements worth critiquing.

Through no fault of Opera Queensland, the performance was initially overshadowed by the approaching Tropical Cyclone Alfred, as Brisbane braced itself for potential weather chaos. The announcement that the show would proceed was a testament to the resilience of the Queensland arts community. Despite the storm brewing outside, inside the Concert Hall, La Cenerentola swept away any concerns of an impending cyclone, leaving the audience thoroughly entertained and transported to a whimsical world, and chuckling wryly when the performance referenced stormy weather.

The production retains the core elements of the classic Cinderella tale but with Rossini's inventive touch. The characters, including the wicked stepsisters Clorinda and Tisbe (played with great brio and panache by Sarah Crane and Hayley Sugars), the ever-dramatic stepfather Don Magnifico (James Roser), and the charming disguised Prince Ramiro (Petr Nekoranec), are exaggerated for comic effect. Each of these roles is brought to life by voices of remarkable quality, with both Nekoranec and lead soprano Mara Gaudenzi (as Cinderella) delivering stellar performances.

Gaudenzi’s voice, in particular, soared with exquisite grace, particularly in her rendition of Non più mesta, and her portrayal of Cinderella’s goodness was convincing and endearing.



Crane and Sugars as the stepsisters were over-the-top pantomime ugly sisters, bringing much-needed levity to the stage with their prissy, larger-than-life personae. Dundas’ Dandini had a physical presence that was both charming and comedic, effectively switching between the swaggering fake prince and the obsequious servant. And their over-the-top playing to the audience as they stripped to their underwear while changing costumes was brilliantly funny.

While the singing and vocal performances were consistently very fine, the first act did feel a bit long. The interval gave a much-needed breather, but the act could have easily lost 20 minutes without losing its essential charm. The second act, however, felt much more dynamic and worked far better, its energy more sustained, and the drama building toward a satisfying conclusion.

Another element worth noting was the production’s staging. While minimalism has its advantages- particularly in making the production more mobile for potential touring - the large Concert Hall may not have been the best fit for such an intimate story. The production’s scale was somewhat at odds with the spirit of La Cenerentola, which thrives on its charm and ability to draw the audience in. The distance between the performers and the audience, particularly in a comedic, character-driven production, made it harder to engage on a personal level. An intimate venue may have allowed the humour and wit to land even more effectively.


Some costuming choices raised questions. The floral motif was quite effective, especially with Cinderella’s ballgown and the stepsisters' appropriately ghastly outfits. However, the all-male chorus’ outfits, dressed as they were in mismatched, grass-like outfits, felt somewhat baffling. The bizarre green additions made it seem as though the costumes were aiming for some sort of whimsical, nature-inspired theme that didn’t entirely fit. And the fact that no women were included in the chorus was odd.

Ultimately, these are minor points compared to the overall success of the evening. The vocal performances were top-notch, and the production’s comedic timing was excellent. La Cenerentola is a show you don’t want to miss, and despite its few imperfections, it’s an operatic experience full of joy, laughter, and incredible music. If you can, catch it before it closes - this is a production worth seeing.

La Cenerentola runs at the Concert Hall, QPAC until 8 March as part of the Brisbane Bel Canto Festival.

Photography Jade Ellis

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