Rossini’s La Cenerentola (Cinderella), or Goodness Triumphant, based on the popular French fairy tale by Perrault, was written three years after The Barber of Seville and has not enjoyed the same popularity. In recent decades, however, productions and recordings led by Abbado and Chailly, featuring Cecilia Bartoli, have led to an increasing appreciation of the work.

Cast as an opera dramma giocoso (a comedy), the work is a balanced one that continues to succeed as a modern piece, with much humour and a familiar tale to entertain contemporary audiences. As such, it is an ideal opera with which to open State Opera South Australia’s Golden Season. With a highly gifted and vocally balanced cast, this is ensemble performance at its best.

La Cenerentola: Indyana Schneider, Teddy Tahu Rhodes and Helena Dix. Photo © Andrew Beveridge

From the opening scene in Don Magnifico’s dilapidated palace, where we meet him and his two daughters –the demanding Clorinda (a comedic Helena Dix) and Tisbe (Indyana Schneider) – the quality of the production is obvious and it continues throughout director Neil Armfield’s production, which features fine sets and costumes by Stephen Curtis and lighting by Nigel Levings.

As the Don, Teddy Tahu Rhodes is ideally imperious. Tenor Jihoon Son (Don Ramiro) sings beautifully throughout. Nicholas Lester (Dandini) demonstrates his customary excellence in singing and acting.

As Angelina, Anna Dowsley’s performance is perfectly balanced with this superb ensemble, providing the requisite happiness and wisdom for all and singing with strength and the clearest of coloratura, especially in her final aria which draws the strings of the plot together.

La Cenerentola: Indyana Schneider and Anna Dowsley. Photo © Andrew Beveridge

The State Opera chorus is finely prepared by Anthony Hunt and under musical director Stuart Stratford, the orchestra was in superb form, especially the wind and string sections.

State Opera South Australia presents La Cenerentola at Her Majesty’s Theatre Adelaide until 16 May.