Last Updated on October 20, 2025
A Dazzling Reimagining: ENO’s Cinderella (La Cenerentola)
4.6 out of 5.0 starsThis season at English National Opera begins with Cinderella (Rossini’s La Cenerentola), landing at the London Coliseum in a bold reimagination that sets the tone for ENO’s Autumn/Winter 2025 season. With a red carpet rolled out in front of the Coliseum on St Martin’s Lane, this new production, directed by Julia Burbach and conducted by Yi-Chen Li, casts Cinderella as a modern heroine who dares to hope for authenticity and connection in a world of appearances. It’s the opening production in a great Autumn/Winter series that includes a revival of Calixto Bieto’s Carmen, a new production of Albert Herring and, for Christmas, a revival of ENO’s brilliant production of HMS Pinafore.
Last night, though, was all fairytale magic of the best kind. Rossini’s La Cenerentola, which premiered in Rome in 1817, is a sparkling reimagining of the Cinderella story, trading fairy-tale magic for human wit and character. Written in just a few weeks following the success of The Barber of Seville, the opera initially puzzled audiences who expected enchantment and spectacle but instead received a tale centred on kindness, forgiveness, and disguise. Though the first performances met with mixed reactions, the opera quickly gained favour thanks to Rossini’s dazzling ensembles, effervescent coloratura, and comic flair, with the final rondò “Non più mesta” becoming a mezzo showpiece. Today, it is celebrated not only for its virtuosic demands and warm-hearted spirit but also as one of Rossini’s most enduring works, balancing touching humanity with irresistible musical brilliance.
Sung in English, the new creative translation by Christopher Cowell had the audience giggling in their seats. The impeccable all-male chorus, for the most part costumed as crimson-tinted characters from Ghosts, looks on through gilt picture frames before gradually integrating into the action. Alidoro, brilliantly played by David Ireland (and the Prince’s tutor in the original production), appears in purple guises from a delivery driver to a glittery fairy godfather. Cinderella’s shallow step-sisters Tisbe (Grace Durham) and Clorinda (Isabelle Peters) wear camped-up yellow and pink runway costumes in their efforts to snare the Prince. The entire story is set in two castles: that of Don Magnifico (convincingly and mellifluously voiced by Simon Bailey) and the Prince’s Palace, distinguished by sliding wallpaper panels (green for Don Magnifico and red for the Prince), as well as a few other props. It is visually coherent and truly creative work, courtesy of set designer Herbert Murauer and costume designer Sussie Juhlin-Wallen.
The stunning Canadian mezzo-soprano Deepa Johnny was perfectly cast in the role of Angelina/Cinderella. A mezzo with a beautiful bel canto voice that is both virtuosic and lyrical, while her opening ‘There was a King’ was perhaps a little more gentle than reflected by the orchestra, her finale, the stunning and technically brilliant ‘I was born to sorrow’ finished the evening in style.
Aaron Godfrey-Mayes as Prince Don Ramiro characterised the part with brilliance and a lilting, lyrical tenor. His own showcase number, where he vowed to find Cinderella, was convincingly delivered. And, there seemed to be a genuine chemistry between the pair.
Charles Rice as Dandini was excellent casting. With some of the best lines in the opera, he referenced his own previous role at ENO, where he played Figaro in the Barber of Seville. A witty and charming assistant to the Prince, his ‘bee song’ seemed entirely appropriate and was delivered with flair.
Ensemble numbers throughout were well-managed, thanks to a balanced cast featuring some great voices, and Yi-Chen Lin directed the orchestra and singers from the pit with just a few moments when the action on stage seemed to make a break for freedom. Outstanding musical direction showed through in the overture, and the band produced a virtuosic performance.
Overall, Cinderella at ENO is a fabulous opera that will give the whole family a great evening of entertainment, and it has just the right level of contemporary relevance to provide an empathetic show that will keep everyone engaged. There are moments of magic that simply shouldn’t be revealed in a review – so you’ll just have to go along and find out for yourself. The good news is that tickets for Cinderella start at just £15, with under-21s going free, and those under 35 qualifying for half-price seats.
English National Opera
London Coliseum
St Martin’s Lane
London
WC2N 4ES
Cinderella (La Cenerentola) runs from 27 Sep to 14 Oct 2025
Looking for something different? Check our London opera previews for 2025
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