Take one of Perrault’s most famous tales, add some lightning-fast music, throw in a hand picked cast, and set it all in a world where theatre and circus come together in Julien Lubek and Cécile Roussat’s colourful interpretation: the result is one of the most beautiful and exciting productions of this opera season. Virtuosity, a frenetic pace that knows how to slow down to make way for moments of suspended lyricism, and a collective talent that enchants young and old alike. An important detail: it is in exquisite French, that of the second half of the 19^th century (with additions made by conductor Gaétan Jarry for the recitatives, which blend with surprising ease into the language of the libretto).

In the foreground is the daring work of a conductor who creates and brings together the elements while limiting the visibility of the seams. It is difficult to believe that interventions were made to bring the Opéra Royal du Château de Versailles’ desired show to the stage, so seamlessly do they blend with the original work, translated during Rossini’s lifetime by Louis Ernest Crevel de Charlemagne. Once in the pit, Gaétan Jarry delivers a finely crafted performance, perfected down to the smallest detail, with the Orchestre Royal du Château de Versailles reproducing its surgical precision, all the more understandable given that the pyrotechnic numbers follow on from the thunderous pace of Rossini’s comic operas.

On stage, a cast bursting with talent and invincible resilience. For in addition to their vocal prowess, they strive to perfectly embody genuinely funny theatrical numbers. At the forefront is the great Gaëlle Arquez: her repeatedly demonstrated Rossinian verve, combined with a disconcertingly natural elegance and humility, make her a Cendrillon whose ability to convey feelings could not be more natural. For such a great Cendrillon, there is a Don Rodolfo of equal poise and presence: Patrick Kabongo, a bel canto singer through and through, with easy and natural vocalisations, poetic, charming and charmed by the gentleness and sincerity of his Dulcinea’s intentions.

Gwendoline Blondeel as Eléonore and Éléonore Pancrazi as Isabelle play the protagonist’s delightfully obnoxious sisters. Such a combination of divinely comical villainy, caricatured to excess in a way that is perfectly acceptable in this world where discretion is rarely invited, could only result from a successful theatrical and musical experience, of which its performers are well known to be exquisite representatives.

They could only have had the excellent Alexandre Adra as their father, a Don Magnifico of great stature, with a full-bodied voice and an effortless power capable of filling the hall and towering over the impetuous orchestra. Jean-Gabriel Saint-Martin is brilliant in his talent and buffoonery. Not one of his interventions goes unnoticed: it is impossible not to notice the beauty of his timbre and his masterful acting talent, which he displays to full effect in all the circumstances that Perruchini allows him. Alexandre Baldo brings to life a sensitive Fabio, a magician of situations, where the elegance of his voice blossoms fully. Let us not forget the beauty of the dancers-acrobats-actors (great artists, in short) who are present throughout the performance, as well as the power and accuracy of the excellent Choeur de l’Opéra Royal.

With such a perfect balance between the orchestra pit, stage and perspective of the work, where beauty and enchantment flowed from beginning to end of this superb evening, it is no exaggeration to say that leaving the show (like Rodolphe when he met Cinderella): quel bonheur!

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CENDRILLON