Oberlin Opera Theater presented Jules Massenet’s Cendrillon last Thursday–Sunday in Hall Auditorium, corresponding with Oberlin Parents and Family Weekend. A retelling of the classic fairytale, Cendrillon portrays the meek, abused Lucette — aka Cinderella — as she pursues the love of Prince Charming with help from her Fairy Godmother.
The show was directed by Stephanie Havey, her first show since being officially hired as the director of Opera Theater and associate professor of Opera Theater. Havey directed last year’s operas Albert Herring and L’Orfeo as a visiting professor and continued a streak of masterful direction with Cendrillon. The show brought the fairytale to life, incorporating a mix of beautifully realistic set design with whimsical set pieces. A personal favorite was the sparkling, light-up proscenium that twinkled periodically over the course of the opera.
The set wasn’t the only applause-worthy aspect. Cendrillon featured several standout performances from Conservatory students. In the title role, Conservatory third-year Saige Hoffman and Conservatory second-year Ella Vaughn both gave absolutely stunning performances. Hoffman presented a fully realized Lucette that, especially when paired with her rich lyric soprano voice, showed an immense vulnerability that was captivating. She commanded the stage while maintaining the docile, sensitive nature of the character; even when she was standing still, you could not take your eyes off of her. This shone through exceptionally in her opening aria. She sang with a tenderness you couldn’t help but be moved by, and her high notes soared with a smooth timbre that shot right through the heart.
Vaughn made an exceptional Oberlin Opera Theater debut in the role, bringing an excited energy that was tangible. Her Lucette was more sprightly and energetic, conveying the youthful excitement of getting to attend the ball and meet the prince. She sang with a wonderfully bright tone that energized the audience and brought them along the journey with her. This was perhaps most impactful in an Act III aria, in which the distraught Lucette declares that she would rather die than live without her love. Vaughn emoted with an impactful intensity, echoed by her powerful voice. Both performers brought a unique but equally impressive perspective to the character, which made each viewing a new experience.
Another notable role came in the form of La Fée, or the Fairy Godmother, sung by double-degree third-year Amelia Friess and double-degree fourth-year Ava Paul. La Fée is easily the most technically difficult role in the show — the highest note being a high E-flat 6 — and both performers rose to the challenge impressively. Paul navigated the vast arpeggiated lines both skillfully and sensitively, utilizing shorter staccato notes to imbue her lines with an intensity that commanded spirits of the woods. Friess’ La Fée sang more legato, moving from note to note with a delicate, hypnotic mysticism that was fitting for the role.
Le Prince Charmant, or Prince Charming, was played by two mezzo-sopranos: Conservatory fourth-year Tracy Lin Waagner and double-degree fifth-year Inayah Raheem. It is noted in the program that this was an intentional, “artistic decision” by the composer that “when briefly joined by the Fairy Godmother … [creates] a very special soundscape.” This was certainly the case: in both casts, when the three characters joined together, their voices merged and danced in a way that perfectly matched the magical setting of the show. Despite the prince not being the most developed character, Raheem and Waagner still gave stellar performances. Waagner’s voice absolutely filled Hall Auditorium with a power that was palpable, and Raheem managed to give the prince a certain depth through a mixture of inspired acting choices and beautiful phrasing.
The show also offered many comedic moments interspersed between more serious and romantic plotlines. Standouts include the central family, Madame de la Haltière, her daughters Noémie and Dorothée, and Lucette’s father Pandolfe. The Thursday/Saturday cast consisted of double-degree third-year Lydia Rommel; Conservatory fourth-year Sabrina Schubert; Conservatory second-year Rebekah Grande; and Graham Lin, OC ’24, respectively. The Friday/Sunday cast included Conservatory third-year Kailey Pritchard, Conservatory third-year Molly Chun, Conservatory second-year Lucie Freeman, and Conservatory third-year Jamie Felix-Toll. The former cast was led by Rommel, whose comically painted eyebrows enhanced her already fabulous performance. Lin, who returned for the show as a guest artist, provided a mature, full baritone voice that contrasted nicely with Schubert and Grande’s soprano-mezzo mix. The latter cast had a chemistry that enhanced their comedy tenfold. Felix-Toll bounded around the stage with hilarity, exasperated by the abundantly over-the-top villainy of Pritchard’s Haltière. Chun and Freeman played convincing sisters, maintaining extreme physical comedy while never compromising the beauty of sound.
The orchestra, under the baton of guest conductor James Feddeck, OC ’05, completely transported the theater to the Fairylands. The lush, romantic lines of Massenet’s score were played with attention and care, with special love going to the wind section for precision. The audience reception reflected the incredible work of the orchestra and the entire team behind Cendrillon. The sold-out theater applauded at every possible opportunity, screamed with laughter during scenes, and leapt up for a standing ovation at the end of the show.
You can always expect greatness from Oberlin Opera Theater, especially under the command of Havey, and this show was no exception. She continues to create and lead extraordinary productions, and I cannot wait to see what else she has in store for the department.
