(Photo: Baptiste Lacaze)

Gioachino Rossini’s “Cendrillon,” the French language version of “La Cenerentola,” tells the story of Cinderella in real-life and not fairytale. The French translation, by Louis-Ernest Crevel de Charlemagne (1868), brings to life Jacopo Ferretti’s libretto, which follows the story of a young woman abused by her stepfather, Don Magnifico, and two stepsisters, Eléonore and Isabelle. Cinderella’s real name is Angelina and she personifies notable qualities of humanity including kindness, creativity, love, hope, and forgiveness. The synopsis includes the Prince in disguise while his valet reaps all the benefits as his stand-in. The Prince then realizes Cinderella’s pure heart in a moment of chance meeting, but since her stepfather refuses to acknowledge her as his stepdaughter, Cinderella’s story becomes more complex than fantasy. “Cendrillon” is not about magic, it is about following one’s heart, despite all odds.

Rossini’s score is rich with unforgettable musical moments combined with commedia dell’arte that captivates audience members of all ages. Combined with the stunning setting of Opéra Royal Château de Versailles, this French version of “Cinderella” made a lasting impression in celebration of a new opera season.

Production Details

Julien Lubek and Cécile Roussat managed the stage direction, choreography, sets, costumes, and lighting. In the program notes, they made clear how their direction supports Rossini’s score: “To give substance to the score’s vocal whirlwind and the libretto’s powerful comic relief, the actors’ performances will be inspired by the commedia dell’arte, and the visual universe will be full of illusions and the unexpected. Like figurines struggling in a mad music box, the protagonists move around a revolving stage, whose spaces are themselves gradually disguised: Don Magnifico’s dilapidated bedroom is transformed into Prince Don Rodolphe’s flamboyant garden, while Cinderella’s fireplace becomes a carnivalesque throne room tailor-made for the valet Perruchini.”

This rotating stage design illuminated the intertwining and multidimensional forms of circumstance like a ripple effect. The more the story unfolded, the more the stage rotated, revealing deeper degrees of complexity. The plot thickened as the wheel turned! In this way, there was no hiding between character reactions and, combined with commedia dell’arte’s intelligent wit, the audience was enthralled for the whole production. I observed young children leaning on the edge of their seats in anticipation of what might happen next, and this very rarely takes place in a long-sitting environment like an opera. I sensed lasting impressions being made and Rossini’s opera proving itself to be just as timeless now as when it first debuted.

(Photo: Baptiste Lacaze)

Director Gaétan Jarry, Assistant Scenographer Sébastien Thouvenin, and the costumes, makeup, and accessories created by the Château de Versailles Spectacles teams for the 2025 recreation, made all of this possible. The attention to detail in every way brought to life this new Royal Opera production of Rossini’s opera with magnificent aplomb!

Stellar Cast Highlights

Gaëlle Arquez as Cendrillon (Angelina) was outstanding in her role. Arquez’s voice sounded exquisite in the Royal Opera hall. Her middle range was grounded in notable vocal technique that allowed her to stretch into her upper registers with ease and delight. Her aria, “Il était une fois un roi” (“Una volta c’era un re”), was rich with emotional undertones, her desire for true love, and her deliverance from life’s painful circumstances. Arquez as Angelina made her role relatable for everyone, and the audience could feel her longing heart beating and hoping for a better life and unconditional love.

(Photo: Baptiste Lacaze)

Her comical interactions with her castmates were entertaining, but never compromised her vocal excellence. Her voice was her highest priority, and this made Rossini’s score that much more enjoyable. Her ending aria, “Je ne suis plus triste” (“Non piu mesta”) resonated into the heavens with its beauty.

Patrick Kabongo as Don Rodolphe (the Prince) was a major vocal highlight. His vocal technique and presence onstage were remarkable and beautiful. His costuming and makeup were on point and his acting skills made every moment exciting. His aria “Tout est désert, amis” (“Tutto e deserto, amici”) sounded perfect leading into his duet with Angelina, “Un bonbon, je ne sais pas quoi” (“Un soave non so che”). His voice was pure and delightfully potent in its passion for his new-found love. Kabongo’s facial expressions were engaging and the children in the audience could not take their eyes off him, all eagerly awaiting his next move.

Kabongo’s duet,”Tout doucement, très lentement” (“Zitto zitto piano piano”), with his valet, Perruchini, was also highly entertaining. The two had excellent chemistry that made the scenic transitions, especially as the pace rapidly increased towards the end, feel natural and all part of the commedia dell’arte aesthetic. This production was classic French comedy at its highest caliber!

Jean-Gabriel Saint-Martin as Perruchini, Rodolphe’s valet, was magnificent in this role. His acting and delivery onstage entirely raised the bar. The children in the audience laughed and their eyes sparkled when he performed, especially as he was imitating getting drunk at the Prince’s party. The sleight of hand table magic was mind boggling and a major hit with the audience. This illusion only added to the absurdity of his character when disguised as the Prince and reaping all the rewards.

(Photo: Baptiste Lacaze)

Saint-Martin’s voice was resonate in the opera hall and his aria, “Comme une abeille au jour d’avril” (“Come un’ape ne giorni d’aprile”), was hilarious! His interactions and seduction of Don Magnifico’s stepdaughters was unparalleled in their ridiculousness and rambunctious rally to make the most of his princely status. 

Gwendoline Blondeel as Eléonore, eldest daughter of Don Magnifico, and Éléonore Pancrazi as Isabelle, the youngest, were dutifully desperate in their measures to get the “Prince’s” heart. Together they whisked about the complex stage in haste and hurry, managing to give themselves away at every turn just to keep his attention. Their voices sounded solid in the cast mix and most of all, their costumes and synchronized acting were knockout. They acted as twins that really added to their overall hilarity.

(Photo: Baptiste Lacaze)

Alexandre Adra as Don Magnifico (Cinderella’s stepfather) really showcased his vocal talents during his aria, “Sois l’une des filles” (“Sia qualunque delle figlie”). His imagination ran wild as he sang about becoming baron and showing off his new status because one of his stepdaughters married the Prince. Adra’s attention to detail in his delivery featured his own intelligent and well-used wit. His role came across as more real than farce and this added to the fact that Rossini’s opera is grounded in dark comedy.

(Photo: Baptiste Lacaze)

Alexandre Baldo as Fabio, friend and advisor to the Prince, was glorious. He added excitement and surprise to the production. His advice to the Prince often drew upon magical foretelling, which heightened his character’s mysteriousness. Baldo looked awesome in his top hat and sparkling cloak. There was a moment in the production when he entered the audience balcony and the spotlight shone upon him, illuminating his body and one single chandelier in the sightline. I could see the audience faces in awe and this single moment made all of the Château de Versailles feel alive. The atmosphere was ripe with celebration for a new season!

This production also featured acrobats and dancers, including Amandine Schwartz, Céline Delhommeau, Max Spuhler, Romain Burnier, and Marceau Ehrmann. Their presence and artistry was beyond anyone’s wildest expectations. They were an absolute hit!

The Chœur de l’Opéra Royal and Orchestre de l’Opéra Royal sounded regal and ripe with musical vitality. The costumes, makeup, and accessories were created by the Château de Versailles Spectacles teams for the 2025 recreation and are museum worthy! Bravissimo to everyone involved in this production! It was out of this world!

(Photo: Baptiste Lacaze)