With the number of young ladies who were eager to press the flesh with Prince Harry on a recent trip to New Zealand, it is clear that the rags-to-riches fairy tale is still alive and kicking. Rossini’s 1817 opera based on this subject is set in Italy, but the current craze for the British Royal Family makes comparisons in that direction inevitable.

And so it is to Victorian England that director Lindy Hume takes us in this Cenerentola, a co-production with Opera Queensland. Drawing on pantomime, music hall and circus, in addition to an affection for the Royal Family, she creates a richly detailed production that constantly dazzles and delights, while retaining a humanity that gives the performance its true heart.

Despite the fact that much of the production is treated to the pantomime approach, there are very few gimmicks. In fact it is the subtlety and detail of Hume’s direction that make this a most compelling and ultimately entertaining Cenerentola.  The ditzy step-sisters and Dandini’s slap on the thigh are straight from panto, but circus is the inspiration for Alidoro’s and Don Magnifico’s characters, the former directing the action like a circus ringmaster and the latter as a deliciously buffoonish clown. There is even a bearded lady to keep the circus theme on track! If there is one miscalculation it is the decision to substitute New Zealand wines into Don Magnifico’s drunken aria in the palace’s wine cellar.

Dan Potra’s sets are wildly Dickensian in feel, from the opulent library in Don Ramiro’s palace with English kings frowning down on us, to the exquisitely detailed shop that sells a myriad of wares under the name of Don Magnifico’s Emporium. The scene changes are breathtaking in their simplicity and theatricality, with the Emporium opening and closing like a child’s doll house and moving on and off stage as if by magic, accompanied by lots of smoke and Matthew Marshall’s atmospheric lighting. All in all it is an evening of many visual delights.

So to the cast: La Cenerentola is very much an ensemble piece and NZ Opera have assembled a youthful team who on the whole deliver both vocally and dramatically.

Having said that, Sarah Castle’s Angelina is something of a mixed bag. While her humanity and goodness constantly project into the auditorium, her light-timbred voice often refuses to do so, particularly in the ensembles where she becomes almost inaudible. However, despite Rossini rather labouring the opera’s ending, Castle finally demonstrates her virtuosic vocal skills in “Nacqui all'affanno, al pianto” with an agile coloratura technique and rich tone. Her performance is affecting, it just needs a bit more vocal clout in places.

Her Prince, Don Ramiro, is played by John Tessier. He too has a light voice that struggles to come across in places, but his Act II aria “Si, ritrovarla io guiro” is finely judged with ringing top notes. One remarkable thing about this production is that Tessier and Marcin Bronikowski, playing his valet Dandini, are physically very similar making the swapping of roles all the more believable. Bronikowski’s virile, youthful baritone certainly hits the right note here.

But it is in the comedy roles that we see the standout performances.  Amelia Barry’s Clorinda and Rachelle Pike’s Tisbe dominate every scene they are in, often stealing the show both vocally and dramatically. If looks could kill this comedy might have had a very different outcome! They have clearly been well schooled by their father, Don Magnifico, played here by Andrew Collis with clown-like overtones and plenty of Rossinian buffo to create an utterly appealing character – and well sung to boot.

And pulling the strings is Ashraf Sewailam’s calm Alidoro, impressing both with his somewhat mysterious demeanour (and magnificently twirling moustache) and his strongly projected voice that is able to go effortlessly from a whisper to full throttle.

In the pit Wyn Davies draws energetic playing from the Auckland Philharmonia, keeping everyone together while Rossini is doing his best to cause musical chaos. Pace is well judged throughout allowing the music to sparkle in the way it should. The men from the Chapman Tripp chorus throw themselves into their various roles with energy and commitment, choreographed with precision by Taiaroa Royal and under the expert musical direction of John Rosser.

And so the opera comes to its inevitable happy ending with the new Princess accompanied by her Prince on the palace balcony, acknowledging the excited onlookers waving Union Jacks. And yes, there is a kiss! Now, doesn’t that sound familiar?

Footnote: Don Magnifico’s Emporium is advertised as having its “Final Sale.” I’d be sure to go along and check out what’s on offer before it closes its doors for the final time. Further performances in Auckland on 3, 5 and 7 June 2015.