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Cinderella

The production of Opera San Jose is available to stream from Medici.TV, as well as on a Sony Classical DVD and Bluray. A short version for young children is available as DVD from the Vienna State Opera

“Alma Deutscher's Cinderella at the Salzburg State theatre: a feast for the eyes and ears.  When the orchestral version [of Cinderella] premiered in Vienna in 2016, Alma Deutscher became an instant shooting star. Cinderella is exhilarating, enchantingly moving, and spiced with finely ground comedy,  and it was deservedly honoured with a standing ovation at the end.”  Kirsten Benekam Orpheus Magazine, May 2021.

more from the reviews

(German reviews here)

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, for a new production at the Salzburg State Theatre. 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.

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. Read full review in The New Criterion, 2018).

A young talent’s sensational burst to prominence, and a buoyant production of the highest professional standard combined to make this the once-in-a-lifetime opera-going event that had audiences standing and cheering. (Opera Today, 2017). 

“12-Year-Old Alma Deutscher Is a Genius To Behold. In a time of doubt and suspicion, hate and war-mongering, to find a voice as original and as uplifting as Alma Deutscher’s, is more than a gift – it is hope. And the little child will lead them? Indeed. Alma’s original rendition of the classic fairy tale in music and song, is a chord to resound in our lives day after day. Lois Silverstein, Opera Wire, 2017

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)

In concentrated form, Deutscher hosts a firework of her catchiest ear-worms, and the twelve-year-old is a highly gifted melodist. Her cantilenas… convey bottomless grief or overflowing yearning. Supported by accomplished orchestral writing, this Cinderella shines through an effective sequence of arias, duets, ensembles and speech scenes. To sum up, the State Opera has done well to secure this Cinderella, because it is not just an attraction for the Wunderkind-arena, but a good opera in itself. (Wiener Zeitung, Christoph Irrgeher, 2018)

Images from the new Salzburg production 

© AM Löffelberger

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Cinderella's Ballad: "When the day falls into darkness", from Alma Deutscher's opera Cinderella
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Cinderella's Ballad: "When the day falls into darkness", from Alma Deutscher's opera Cinderella

From Cinderella, an Opera by Alma Deutscher. Cinderella's ballad: "Wenn hernieder sinkt das Dunkel". Cinderella: Theresa Krügl (soprano) Turn on captions (press CC button at the bottom right) for English subtitles. This is a snippet from the performance of Alma's opera Cinderella in Casino Baumgarten, Vienna in December: Cinderella's sad ballad from Act I. When the stepmother has shown her true face, Cinderella realizes for the first time that she is completely alone in the world and that her stepmother and stepsisters really hate her. She sings a ballad about a lonely beggar girl who is deluded to think that there are people around who love her. When Cinderella later flees from the ball, she will sing the end of this aria to the prince. The prince is haunted by the melody, and especially by the painful harmony on the word 'Dunkel' ('darkness'). And this is how he will eventually find Cinderella in the end: not with a shoe, but through this melody. Musik: Alma Deutscher Regie: Dominik Am Zehnhoff -Söns Eine Produktion von Oh!pera – Operntheater Musikalische Leitung: Vinicius Kattah Orchester: Oh!pera Orchester Gesamtleitung: Cathrin Chytil Produktionsleitung: Celia Sotomayor Video and Sound Recording: Bernhard Rausch Videoinszenierung: Evelyn Fey Regieassistenz: Barbara Spitzer Kostüme und Maske: Celia Sotomayor Beleuchtung: Bernhard Hitzenhammer Text: Alma Deutscher, Guy Deutscher, Tsur Ehrlich, Eitana Medan-Moshe, Elisabeth Adlington. Deutsche Übersetzung: Theresita Colloredo, Guy Deutscher We are especially grateful to the major sponsors: Steven Heinz, David Giampaolo, Martin Schlaff, Christoph and Caroline Preiser.