La Cenerentola retells the story of Cinderella with slight differences from our familiar version. Without exception the singers were of an extraordinarily high standard regarding vocal beauty and technical virtuosity, so presented an authentic performance with every singer a master of the bravura style.

The title role was taken by Gabriela Hazarian, a ravishing Titian-haired soprano with an amazing ability to deliver Rossini's florid vocal lines

Clorinda (soprano Cristina Radu) and Tisbe (mezzo soprano Anda Popescu), the two Ugly Sisters, were ingeniously choreographed, the first frequently moving as if in a ballet, the other more cumbersome. Their appalling taste in dress and flagrant behaviour, were replaced by pseudo chaste and demure appearances in the end.

The Prince of Salerno (tenor Marius Manea) swapped personae with his valet Dandini (bass Valentin Marele) and Magnifico, (buffo bass Magur Curelaru), were brilliant in their characterisations, facial expressions and body language.

Comic situations led to some outstanding ensemble singing and acting. The climax came with a great septet, which began with a slow majestic staccato tune. It was cleverly built up until each singer departed on a florid phrase in turn, while those remaining continued in the same unwavering tempo of staccato.

The chorus of gentlemen courtiers was attired in red and black uniforms of eastern European influence; ladies were in sumptuous pastel gowns.

The large and splendid orchestra offered many solo contributions by fine woodwind players.

Scenery and lighting was minimal, but always conveyed the situation perfectly, as these accomplished musicians imparted Rossini's brilliantly manipulative comic opera.

Ingenious action took place during the Overture of Donizetti's Don Pasquale. A solo cello serenaded while a fountain with a statuesque water-nymph atop it, played in Don Pasquale's garden. Magically the figure came to life and danced in slow emotive measure before returning to being a statue.

Interestingly, several of the previous evening's artistes were heard in different characterisations, and again they were each exceptionally fine in their performances, except the tenor Serbah Bacila, as Ernesto. He seemed ill at ease throughout the evening, which affected his singing in the highest register particularly.

Don Pasquale (bass Dan Popescu) was a rich old bachelor intending to marry, and Ernesto had his sight set on marriage also. In a typical operatic muddle the hoped for bride in both cases turned out to be the same lady, Norina (soprano Cristina Radu).

She pretended to be timid and nave and thus enchanted Don Pasquale, who married her, but once married into wealth her temper erupted, until her monied husband was glad to hand her over to the love-sick Ernesto!

Malatesta (baritone Valentin Marele), an expert schemer, twisted everything round to suit everyone eventually, having pretended that Norina was his sister; deception had played a major part in this intrigue.

Coloratura singing had abounded, but so had the art of bel canto as beautiful melodic arias were sung, such as Norina's So anch' io la virtu magica. Servants, not necessarily subservient, formed the chorus and the orchestra was a valuable asset to sparkling, effervescent music. Jill Hopkins.