Get ready to dust off your glass slippers and prepare for a royal night out as Opera Australia rolls out the red carpet for the Australian premiere of Cinderella (Cendrillon), opening at the Sydney Opera House this summer.
And here’s the twist—this isn’t just another fairy tale outing. Think dazzling voices, high-fashion-meets-18th-century costumes, and, the pièce de résistance, an all-Australian, mostly female-powered superstar cast.
All Hail the All-Australian Cast
Leading the charge is mezzo soprano Emily Edmonds in her debut as leading lady, stepping into Cinderella’s much-coveted shoes. It’s her big moment, and honestly, we couldn’t have picked a better royal-to-be. Playing Prince Charming in the iconic ‘pants role’ is Margaret Plummer, making her return home from a sparkling international career. She’ll share the spotlight with fellow powerhouse Sian Sharp, an Opera Australia principal singer who knows how to bring the charm. And in a role that’s truly otherworldly, the Fairy Godmother will be brought to life by beloved soprano Emma Matthews—just what you need for some magical, operatic sparkle.
Of course, no Cinderella story is complete without a wicked stepmother and, less-than-ideal stepsisters. Angela Hogan and Dominica Matthews will channel their inner villainess with all the outrageousness you could hope for, while Ashlyn Tymms takes her Opera Australia principal role debut alongside Jennifer Black and Jane Ede as the hilariously dreadful stepsisters. Throw in Richard Anderson as Cinderella’s father, Shane Lowrencev as the King, and Iain Henderson and Virgilio Marino as the Dean of Faculty, and you’ve got yourself an ensemble fit for a palace.
And if that wasn’t enough, the Opera Australia Chorus will be there, ready to knock your socks off with top-tier vocals and comedic antics that’ll have you giggling deep into your sparkling wine.
A Feast for the Eyes and Ears
When French director Laurent Pelly is at the helm, you’re not getting your average pumpkin-to-carriage fare. Known for his eye for visual storytelling, Pelly’s production promises to be a stunner. Barbara de Limburg’s set design transforms the stage into a world of old storybook pages that come alive, while the costumes mix 18th-century vibes with blown-out proportions and a splash of modern haute couture (yes, the Fairy Godmother is guaranteed to look extra). And if you need more magic, Duane Schuler’s lighting will be working overtime to bathe everything in an enchanting glow.
Don’t have the patience for operas that drag on for hours? This is a 90-minute abridged version—Pelly’s hit production that wowed New Yorkers at The Met in 2021. Don’t worry, it doesn’t skimp on drama, narrative, or the heart of the story. Cinderella still gets her swishy transformation, midnight madness, and, spoiler alert, her happily-ever-after.
The cherry on top? It’s sung in English. That’s right, this one’s not just for the opera buffs. Kelley Rourke’s translation keeps it accessible but doesn’t shy away from sprinkling in some French here and there for a dash of Parisian flair. J’adore, right?
Musical Magic
You don’t get an iconic fairy tale without an iconic score, and Jules Massenet delivers. Written at the peak of his career, this music weaves a rich tapestry, sparkling with influences from the Baroque period to Wagner. It’s lush. It’s transcendent. It’s absolutely swoon-worthy.
Commanding the Opera Australia Orchestra is Evan Rogister, principal conductor of the Washington National Opera, in his company debut. He’ll be passing the baton to OA’s own rockstar Tahu Matheson, Head of Music, later in the season. Together, they’ll ensure that every note hits perfectly.
Opening Act
Poof! Like magic, Cinderella makes her Australian debut at the Joan Sutherland Theatre on New Year’s Eve. Fancy kicking off the year with a little fairy tale glam? You can get tickets that include a pre-show dinner and a midnight party to ring in 2024 in opera style. Too good an excuse for a night out, isn’t it?
But don’t worry if New Year’s Eve plans are already locked in. You’ve got until the end of March to jump into this fairytale adventure, with performances running in conjunction with the Sydney Festival.
Terrific cast, jaw-dropping design, and music to melt hearts—this is one happily-ever-after you don’t want to miss. Time to book your ticket. Go on, Bibbidi-Bobbidi-Boo your way to Sydney Opera House already.