Cendrillon review: Cinders goes to the ball in fine voice at Glyndebourne

When, in 1899, French composer Jules Massenet premiered Cendrillon, his operatic version of the Cinderella story, pantomime wasn’t on his mind but Fiona Shaw’s 2018 Glyndebourne staging (now revived by Fiona Dunn) cheerfully introduces some panto vulgarity.

In more ways than one she obeys the imperative to glitter and be gay but there are psychological nuances, reflections and distortions that enrich the hyperactive spectacle.

We see three Cinderellas: a child version who becomes an occasional comfort blanket for her older self; a danced incarnation, whose intermittent appearances are confusing; and the “real” Cinders, sung by Danielle de Niese, who, Shaw implies, dreams the whole thing. As in all dreams there are absurdities, irrelevant details and acute insights, all enlivened by bold design: Jon Bausor’s set evokes a palace one moment, a sinister forest the next, while Nicky Gillibrand’s costumes are a riot of clashing colours.

De Niese is always a powerful stage presence but vocally she is outshone by the precision coloratura of Nina Minasyan’s Fairy Godmother, and by Kate Lindsey’s Prince Charming: Massenet specified this as a trouser role, which the production exploits with subtle wit. Lindsey’s voice is full of colour and feeling, and she acts with convincing dignity. In the pit, John Wilson, best known for his work in musicals, brings a degree of brashness to the sumptuous score but there is also fine-grained delicacy. It turns out that panto and Massenet go well together.

Until Aug 2 (01273 815000, glyndebourne.com)