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Massenet: Cendrillon
Danielle de Niese (Cendrillon), Kate Lindsey (Le Prince Charmant), Agnes Zwierko (Madame de la Haltière), Nina Minasyan (La Fée), Lionel Lhote (Pandolfe)
London Philharmonic Orchestra, Glyndebourne Chorus, John Wilson
Awards:
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Presto Recording of the Week, 19th June 2020
Wilson’s conducting holds the score’s Gallic wit, dream-fantasy and sensuous romance in balance, conjuring delicious sounds from the London Philharmonic...Minasyan’s delicate, pinpoint accuracy...
Massenet: Cendrillon
Danielle de Niese (Cendrillon), Kate Lindsey (Le Prince Charmant), Agnes Zwierko (Madame de la Haltière), Nina Minasyan (La Fée), Lionel Lhote (Pandolfe)
London Philharmonic Orchestra, Glyndebourne Chorus, John Wilson
Purchase product
Awards:
-
Presto Recording of the Week, 19th June 2020
Wilson’s conducting holds the score’s Gallic wit, dream-fantasy and sensuous romance in balance, conjuring delicious sounds from the London Philharmonic...Minasyan’s delicate, pinpoint accuracy...
About
Fiona Shaw’s production dives deep into the psychological aspects of Massenet’s glittering Cinderella story
“... conductor John Wilson makes an endless delight of the enchanting candyfloss score.”
(The Stage ★★★★)
With its combination of enchanting love story and broad, burlesque comedy, Cendrillon is one of the great operatic fairy tales – a Cinderella that looks back to Charles Perrault’s original story in all its richness and ambiguity. Massenet’s sensuous Belle Epoque fairy tale is gilded with lavish orchestral textures and glittering vocal writing, drawing on everything from baroque dances to Wagner-inspired chromaticism to bring its story to colourful life, conjuring a world of infinite musical and emotional variety. Fiona Shaw’s original Tour production makes its Festival debut here, re-directed by Fiona Dunn and conducted by John Wilson, with a cast led by Glyndebourne favourites Danielle de Niese as Cendrillon and Kate Lindsey as her Prince.
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Awards and reviews
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Presto Recording of the Week19th June 2020
February 2021
Wilson’s conducting holds the score’s Gallic wit, dream-fantasy and sensuous romance in balance, conjuring delicious sounds from the London Philharmonic...Minasyan’s delicate, pinpoint accuracy makes the Fairy Godmother’s coloratura sound easy, which it isn’t…[De Niese's] charisma compels attention…[Lindsey's] full, dark mezzo and intense acting are pretty much ideal..in spite of its quirks, this sumptuous Cendrillon is a pleasure to hear—and often to see—in the good, old Glyndebourne tradition.
19th June 2020
Lindsey's dusky mezzo is the perfect foil to de Niese’s brighter sound, particularly crucial in the glorious love-duets...The other knock-out performance comes from Armenian soprano Nina Minasyan, whose ravishingly sung, unusually sassy Fairy Godmother all but steals the show...In the pit, John Wilson works miracles too, keeping a score which can easily seem stodgy and overblown light on its feet without ever short-changing or apologising for the music’s heart-on-sleeve sentimentality.
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