Innocent Wonder Even `Problem Roles’ Were Handled With Talent That Kept Them Convincing

Uptown Opera mounted a production of Jules Massenet’s “Cinderella” that looked good and sounded even better.

Granted, it could have used a fairy godmother to give The Met a goodsized orchestra pit and the musicians to fill it and to provide some complex stage machinery to add more magic to Massenet’s fairy-tale confection.

But why complain?

Even in Crafton Chapman’s quaint English translation, Uptown’s “Cinderella” was as light as a souffle and as sweet as an eclair.

Tamara Schupman’s girlish appearance and light soprano lent the right quality of innocent wonder to the title role. Her voice is at its best when she does not have to put too much pressure on high notes. Fortunately, her role does not call for much loud singing, but it does require considerable stamina, and Schupman exhibited a good reserve of vocal energy.

The opera’s two “problem roles” were sung and acted well by Elizabeth Moore as Prince Charming and Hiroko Muto as the Fairy Godmother. Massenet wrote Prince Charming for a singer named Emelen, who created many character parts for the Opera Comique in Paris. Was Emelen a woman who specialized in trousers roles or a tenor with an exceptionally developed high register? I have no idea. But the role Massenet wrote for her (or him) creates a serious believability problem in modern productions.

Moore, who has sung her share of trousers roles - Cherubino, Hansel and Prince Orlovsky - demonstrated the advantages of experience and exceptional musical intelligence as Uptown’s Prince Charming.

Muto’s task was more conventional: She had merely to sing showers of high notes with the ease of a flutist and the strength of a trumpeter. Muto sailed easily through Massenet’s florid coloratura. She could also act convincingly. There are slight differences in plot between this opera and the traditional storybook version. A greater clarity of diction from Muto might have made these differences clearer.

Diane Mae Johnson created the kind of character audiences love to hate. As Madame de la Haltiere, Cinderella’s harridan of a stepmother, Johnson’s booming low notes projected a character that was comically repugnant. Ann Bruegemeier and Christie Jones, as Cinderella’s nattering stepsisters, rounded out the trio of villainesses.

Baritone Robert Newman conveyed seething frustration in the part of Pandolfe, Cinderella’s much-put-upon but weak-willed father. But his duet with Schupman, “We Will Leave the City,” showed his tender side effectively.

Janet Wilder’s dancers were enchanting as the Fairy Godmother’s sprites and princesses.

I missed the richness of Massenet’s full orchestra. Conductor Randi Ellefson led a responsive accompaniment, but his nine-member pit band sounded a bit scrawny on opening night. The electronic synthesizer, which substituted for the woodwind and brass parts, sounded very electronic, indeed.

The stage resources at The Met did not permit a flying Fairy Godmother or elaborate sets.

Uptown’s economical production did have the advantages of straight-forward direction by Bill Graham, a versatile unit set and alluring costumes by Rollin Thomas and effective lighting by George Lathrop.

ILLUSTRATION: Color photo

MEMO: This sidebar ran with story: HIGHLIGHT Uptown Opera made a delectable treat out of Massenet’s “Cinderella.”