Fun and farcical, La Cenerentola introduces Opera Queensland’s third Bel Canto Festival, which explores the beauty, power and versatility of the human voice.

The story of Cinderella has universal appeal. Who hasn’t experienced injustice, been sidelined, or faced undeserved aggravation from dodgy relatives? It’s infinitely relatable.

Angeline’s dreary, mind-numbing existence of daily drudgery, intensified by emotional abuse from Don Magnifico, her stepfather, and stepsisters Tisbe and Clorinda, tugs at the heartstrings. Cendrillon was prompted by the story, and there are numerous film versions, including Cinderella, Ever After, Ella Enchanted and Into the Woods.

Queensland Opera’s La Cenerentola. Photo © David Kelly

Infusing Rossini’s masterpiece is his strong belief in goodness as an agent of change. In his version, the plot has been stripped of supernatural elements: mouthy mice, pumpkins repurposed into a fancy carriage, a fairy godmother, and the potential catastrophic consequence at the stroke of midnight. In this composer’s worldview, the ultimate magic is kindness.

The setting in the QPAC Concert Hall is minimal, reduced to a backcloth with surtitles and splashes of vivid colour, but the strong cast more than makes up for it by filling the stage with exuberant melodrama. The cast are costumed in bright florals designed by Karen Cochet and Bianca Bulley. Even the sofa sports a flowery accessory; the stage suggests an overgrown lawn.

Christine Felmingham’s lighting design lifts the spartan visuals. There are chuckle-worthy, yesteryear surprises: a giant wind machine conjures a storm.

Queensland Opera’s La Cenerentola. Photo © Murray Summerville

Laura Hansford’s inspired direction is a masterclass in whimsy, humour and quirk, and there’s a strong creative team behind her. The ensemble is excellent, from the engaged, sympathetic male chorus coached by Narelle French to Shaun Brown’s soothing, wise and warm-hearted Alidoro, who delivers strong vocals and embodies the go-to avuncular figure.

Jeremy Kleeman, as Dandini, sings wonderfully. He’s a posturing, teasing comedic force, milking the role to capacity. Mert Sungu’s Don Ramiro solos are blessed with tenderness and a silver-voiced acuity.

Margarita Gritskova’s brilliance in channelling Angeline and delivering Rossini’s sparkling, fiendishly tricky arias is breathtaking. She soars with such power and glorious tone that the audience gasps in silence. Her astonishing, controlled virtuosity is welded to emotional meaning, especially in her achingly mournful Una volta c’era and the superb Nacqui all’affanno, al pianto … Non più mesta.

Opera Queensland presents La Cenerentola in the Concert Hall, QPAC, Brisbane until 2 May.