There’s plenty of doom and gloom around about the future of opera, which makes this production of Cendrillon a proverbial beacon of positivity.

Presented by the University of Melbourne’s Conservatorium Opera and Orchestral Performance and VCA Design and Production schools, it not only shows how entertaining and accessible opera can be (including the very accessible maximum ticket price of $15). It’s also an outstanding showcase of the next generation of singers and designers.

They are guided by a handful of professionals for this tight edit (about 80 minutes, plus interval) of Massenet’s take on the Cinderella fairytale, which premiered in Paris in 1899.

Among them is director and choreographer Johanna Allen, whose thematic contrast of authenticity and self-obsession will resonate with audiences of this social-media age. She also gives the production an assured sense of movement, including chorus work synchronised with the score (sometimes with ballet steps to boot).

The University of Melbourne’s Cendrillon, Photo © Ben Fon

Opera Australia Chorus Master and conductor Paul Fitzsimon draws a cohesive, usually pleasant if sometimes tinny sound from his tiny orchestra of 11 (mostly student) musicians. Five-time Green Room Award-winner Richard Vabre’s clear, bright lighting features pretty colour washes in step with the overall design.

And what an appealing design it is, all the more impressive because it’s created by artists still learning their craft. Maya Anderson’s costumes catch the eye, especially the flounces and frills in garish shades of pink for nasty stepmother Madame de la Haltière and her two equally narcissistic daughters.

The instantly recognisable character colour code also includes grey for servants, played by a 14-strong chorus transformed into the fairy godmother’s sprites with pale green, floaty, wing-like sleeves. There’s Regency pastels for nobles and royalty (who also sport charmingly cartoonish crowns), and grey and black for downtrodden Cendrillon.

Chloe Taylor in The University of Melbourne’s Cendrillon, Photo © Ben Fon

Basic yet dramatic stagecraft sees her become the belle of the ball in a moment, wearing a big, sparkly gown whose witty design suggests it’s conjured from rags and cobwebs.

In contrast, Ivy Miller’s set is white simplicity. A freestanding backdrop with three arched negative spaces and a few chairs on castors enhance this production’s free-flowing movement and good use of space. There’s also a table that transforms into a delightful suggestion of a carriage, and an attractive variety of chandeliers for the ball.

The cast for opening night of this four-performance season (who will also appear on 7 November) is led by Chloe Taylor in the title role. There’s a lovely freshness to this young soprano’s voice, but also strength and suppleness including in the upper register. Like most of the cast her French diction is excellent, and she neatly conveys Cendrillon’s emotions, from sorrow to love.

There’s an irresistible Puckish quality about Ashley Chua’s fairy godmother, who often silently appears for some good-natured mischief. When the soprano does sing it’s with a glittering coloratura confidence that suggests Chua has a bright future.

The University of Melbourne’s Cendrillon, Photo © Ben Fon

In the role of Madame de la Haltière, Brittney Northcott reveals a real stage animal, whose scowls and exaggerated stride is matched by a meaty mezzo. Zoe Lancaster and Sophie McGetrick sing well while delivering a feast of visual amusement as pouting, posing, preening stepsisters.

In the Prince Charming pants role Tessa McKenna goes from bored lad to passionate young man, when the agility and nascent expressiveness of her mezzo is on show. McKenna’s duet with Taylor is musically pleasing but they lack chemistry – a rare reminder that this cast has very limited performance experience.

Baritone Isaac Burgess is the sympathetic father of Cendrillon, while a stand-out in the supporting cast is Zhuoyang (Sunny) Li. His all too brief appearance as the king reveals a naturally beautiful bass-baritone.

With many of the cast clearly already worthy of professional stages, Melbourne opera lovers should grasp this opportunity to catch them at the start of their careers.

Those up for a short, light and very cheap introduction to opera, or who simply like a good show, will also enjoy this production’s lively performances and design.

Cendrillon is at the Union Theatre, Melbourne, until 8 November.