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“Alma Deutscher’s opera sparkles with original ideas… [This] amazing girl who wrote this amazingly good opera. From the inventory of music history emerge remarkable inspirations, which characterize the psychology of the characters.” (Ljubisa Tosic, Der Standard, 2016)
“A twelve-year-old British girl has written an opera of astounding wit, craft, and musical beauty… A smart producer would mount Cinderella on Broadway. In addition to its comedic force, its score puts recent musicals to shame, whether from the Disney franchise or Andrew Lloyd Webber.” (Heather Mac Donald in The New Criterion, 2018).
“a once-in-a-lifetime opera-going event that had audiences standing and cheering.” (Opera Today, 2017).
Alma composed a first version of her opera Cinderella in 2015, and made successive revisions of it in the following years, first in 2016 (for the Vienna premiere), then in 2017 for the US premiere, and finally in 2020, when she thoroughly revised the opera for a new production at the Salzburg State Theatre. The Salzburg Version was due to open in December 2020, but due to the Corona restrictions was deferred to early 2021.
While the plot of the opera is based on the traditional fairy-tale, Alma adapted to story to revolve around music. Cinderella is a composer, slave worked as a copyist by her step-mother, who runs an opera house. The prince is poet, derided at court for his artistic leanings and lack of interest in the affairs of state. Cinderella and the prince will find one another, just as words find their melody. And once Cinderella flees from the ball, the prince will search for her not with the aid of a glass slipper, but with the beginning of the melody, which only she will know how to continue.