Peabody show ‘Cendrillon’ shimmers in its simplicity
by Tim Smith, Sun music critic
Cendrillon
at
Peabody
November, 2004
There are sadly unfulfilled folks who sneer at sentiment and sweetness, fantasy and fairy tale. They’re not crazy about simple, lovely melodies, either. They’d rather face a root canal than something like Cendrillon, Jules Massenet’s luminous, understated operatic version of the Cinderella story. They just don’t know what’s good for them.
Last week, the Peabody Opera Theatre presented a production of Cendrillon that reveled in its sentimental, fantastical, simple loveliness. Housed in Erhard Rom’s pretty set, seemingly inspired by the colors and patterns of vintage Tiffany lamps, and featuring storybook costumes by Mary Bova, the staging had the right look for such magical business. Director Roger Brunyate’s usual finesse ensured a smooth, neatly timed flow of the action, with ample touches of sensitivity and humor throughout.
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| JESSE HELLMAN |
| “…featuring storybook costumes by Mary Bova” |
| Bonnie McNaughton as the Fairy Godmother |
Two casts were assembled from Peabody voice students, alternating performances. Friday night’s lineup proved particularly strong in the title role. Leah V. Inger sang Cendrillon’s music in a limpid tone and effectively conveyed the emotional high of the cinders-to-sequins transformation. Jessica Renfro, in the trouser role of Prince Charming, offered a winning characterization. A little intonation slippage and tonal edginess proved minor in light of her vivid phrasing. Chi-Chen Chiang floated up to the Fairy Godmother’s stratospheric range with a bright voice and confident technique. Elspeth Davis was a deliciously wicked stepmother; her singing was as colorful as her acting. The rest of the cast and chorus did respectable work.
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| JESSE HELLMAN |
| Leah Inger and Jessica Renfro |
| as Cendrillon and Prince Charming |
The orchestra delivered disciplined, dynamic playing for conductor Hajime Teri Murai. He ensured that the rich details in Massenet’s sophisticated score registered brightly, and he managed to keep the music from ever sounding overly precious, while still helping it spread fairy dust all over the theater.
The Baltimore Sun, November 23, 2004, page 3E.