Giorgio Madia’s Cenerentola, performed by the Balletto di Milano, at Teatro Lirico Giorgio Gaber, Milan

by Cesare Zucca

This new version of the classic Rossini’ s music became an extremely entertaining show. The lively, rhythmic qualities of Rossini’s compositions are said to enhance both the comedic timing and emotional contrasts of the ballet, featuring the comic trio of stepmother and stepsisters (performed en travesti) that stends up for its originality, humor, and theatrical flair in a “brilliant and ironic reinterpretation” of the classic fairy tale, combining dance with strong elements of visual storytelling and comedy.

The choreography is praised for favoring inventive gestures and theatrical timing over strict classical form, creating a dynamic and engaging experience. Amazing visual creativity, especially the symbolic costume design—such as Cinderella’s dress blending into the wallpaper to represent her marginal status, mixed to comic scenes, which make the performance accessible to a wide audience.

The staging of the carriage scene—with “human horses” and exaggerated theatrical elements—is singled out as particularly inventive and memorable. The lively, rhythmic qualities of Rossini’s compositions are said to enhance both the comedic timing and emotional contrasts of the ballet.

In the title role are Annarita Maestri and Sinthya Pezzoli, both accompanied by the elegant Prince Haruto Onoda. The travesti trio of Stepmother/Stepsisters is played by Alessandro Orlando, Jack Farren, and Mattia Imperatore. The cast is completed by Alessia Sasso and Sofia Gironi, alternating in the role of the fairy; Gianmarco Damiani and Gabriel Hadi are the two lackeys.

Cenerentola by Balletto di Milano a fresh, witty, and visually rich production—ideal for audiences seeking an engaging and modern take on a timeless fairy tale.

Teatro Lirico Giorgio Gaber till MARCH 22th
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