Estonia Opera House
Tallinn
14th October 2024
Stuart Sweeney
Cristiano Principato is a soloist and fine dancer in the Estonian National Ballet. Still in his 20’s, it is interesting that, albeit with some shorter works to his credit, he has had the chance to choreograph an evening length version of Cinderella, employing dancers from his own company and around the rest of Europe. Sander Sellin of the Estonian Ballet Agency acted as producer of the work, which has already toured the Baltics.
A recording of Prokofiev’s glorious score provides a firm foundation for Cinderella. Principato follows the well-known story, employing classical choreography for the most part, together with some character innovations. Cinderella’s sisters are more differentiated than usual. Philippa McCann as Genevieve, the “good” sister, is more friendly to our heroine than any I have seen, and makes the most of the humour in the role. Karina Laura Leškin is convincing as Anastasia, the “bad” sister, dividing her time between squabbling with her sister and humiliating Cinderella.
Francesca Loi in Cinderella
Image: Jack Devant
Francesca Loi as the stepmother is as feisty as you’d expect, never missing a chance to torment her step-daughter. Loi manages to combine speedy, precise movement with pratfalls requiring help to get up.
After the fun of the initial scenes in the family house, the arrival of the Fairy Godmother and the fairies of the seasons, gives rise, as always, to a series of variations. I particularly enjoyed Akane Ichii’s fine technique in Spring, and Ashley Chiu’s Winter, with elegant pas de bras in this slow variation. Maria Chugai, as the Fairy Godmother, does what she can with the weakest of Principato’s characterisations. Perhaps a limited budget prevented a convincing manifestation of a spirit from another world.
Elisabetta Formento and Thomas Giugovaz in Cinderella Image: Jack Devant
The ball scene centres of course on Cinderella and the Prince played by Elisabetta Formento and Thomas Giugovaz, both from the National Dance Company of Spain. They generate good chemistry and fully exploit Principato’s tender choreography, including a grands pas with spectacular grands jetees. With a total of only fifteen dancers, we see little ensemble choreography and the compensation is a series of variations for individuals and small groups.
Diogo Martins de Oliveira in Cinderella
Image: Jack Devant
Diogo Martins de Oliveira as the Prince’s Adviser makes impressive jumps and pirouettes a la seconde and then has an amusing duet with Genevieve as their love affair unexpectedly blossoms. Loi relishes her trio with the two Fairy Cavaliers, who wish they could escape her clutches.
Midnight sounds, with the expected chase around the palace. The door-to-door search with the lost shoe has some jolly cameos and then we are in the family home for the shoe fitting, this time including the stepmother which overstretched the scene. Finally, the Prince and Cinderella are united and a loving duet ends the work on a high note.
Overall, Principato has shown a talent for humour and graceful choreography. For the future, it would be good to see a work where he has the chance to display more innovative movement. The dancers all contributed to the success of the production and the full house audience in Tallinn gave it rousing applause at the final curtain.
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