Following its highly acclaimed 2025 debut—earning a “★★★★ 1/2 Enchanting” from Limelight and praise for its “impeccable comedic timing” from Backstreet Brisbane—Opera Queensland’s La Cenerentola returned to the Concert Hall last night. The air was thick with anticipation as a capacity crowd settled in, but rather than resting on previous laurels, this 2026 revival offered a fresh, electrifying energy that felt both intimate and grand.
Framed by a lush floral bouquet surrounding the surtitles, the production began with a notably understated tone. The audience watched as Angelina made her way onto the stage alone, her solitary opening piece setting a gentle, unassuming atmosphere. However, this quiet introduction was short-lived; as the other characters arrived, the poignancy of her domestic isolation became sharply apparent. The household’s “downright mean” reality was thrust into the spotlight through the biting acidity of the two stepsisters and the bombastic, reprimanding attitude of their father.
Vocal Might and Comedic Precision
From this sudden immersion into domestic friction, the stage became a battleground of isolation and artifice. Margarita Gritskova, in the title role of Angelina, was nothing short of a revelation. Her performance was a masterclass in the bel canto style, navigating Rossini’s notoriously difficult vocal runs with a fluid precision that made the technical seem effortless. Her “raw despair” was channelled through a rich mezzo-soprano timbre that soared over the orchestra, providing the emotional heartbeat of the evening.
The chemistry between Gritskova and Mert Süngü (Don Ramiro) felt remarkably natural and organic. In a semi-staged setting, their bond felt authentic from their very first meeting—a delightful spark that anchored the show’s romantic stakes. Countering this warmth was the comedic trio of James Roser (Don Magnifico), Sarah Crane (Clorinda), and Hayley Sugars (Tisbe), whose scornful quips served as the perfect foil to Angelina’s heart.
Minimalism with a Playful Edge
While Laura Hansford’s set design was minimalist, the production felt anything but sparse. The “magic” was found in the meticulous stage movement, where the rhythmic blocking created the sense of a human ballet, filled with big voices and even bigger characterisations. A standout moment of theatrical ingenuity was the Act II Temporale (the storm). Handled with great effect, lighting flickered across the stage to simulate a thunderous night, while the production leaned into Rossini’s wit by having stagehands wheel out a large fan to spray purple confetti over the cast. Watching the performers battle the “elements” with their umbrellas was a hilarious highlight that resonated deeply with the audience.
A Triumphant Finale
The Queensland Symphony Orchestra, under the baton of Richard Mills, was in fine form, providing the rhythmic viscera required to move the narrative forward. The Opera Queensland Chorus also deserves mention; their “wall of vocal force” added a layer of gravitas and comedic timing that elevated the entire experience.
The evening culminated in a breathtaking rendition of the final aria, Nacqui all’affanno. The sheer physical and vocal demand on Gritskova was clear, yet she executed the intricate runs and soaring high notes with breathtaking perfection. It was a definitive display of the prowess of Opera Queensland, proving that in a world of status and scorn, kindness remains the most potent and electrifying force of all. For those seeking the pinnacle of the Brisbane Bel Canto festival, this production is an essential, highly recommended experience.
Photo by: Murray Summerville
QPAC Info: https://www.qpac.com.au/whats-on/2026/opera-queensland-la-cenerentola
