The intermission talk with Cendrillon‘s director Fiona Dunn, my beloved John Wilson, mezzo Kate Lindsey, and soprano Danielle de Niese. The “topic of debate”: What should Prince Charming look like in the 21st century?

John Wilson Glyndebourne TalkI’m only here for the shoes. Above: Frederica von Stade sings “Que mes sours sont heureuses” from Act I.

My bonny John: “I think having Prince Charming as Massenet stipulated, it fits beautifully within the whole kind of sonic picture of the whole thing. It’s not a piece that you could say fits on one musical plane, it’s got lots of colors. It’s one of the most colorful pieces he ever wrote… When I said I was doing this piece to people, they would say, Oh yeah, that’s a nice light sort of sweet little piece. It’s not a sweet little piece, it’s a big piece, there’s always another layer to get to and there’s always more detail to explore, always more depth every time. It’s not lightweight…”

UPDATE: Just found the most John Wilson-ish piece in Cendrillon. It’s like Massenet wrote it just for my beloved. Tell me I’m wrong:

Marche des princesses
from Cendrillon
Jules Massenet, composer
Academy of St Martin in the Fields
Neville Marriner, conductor
Capriccio, 1997

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3 thoughts on “Conductor John Wilson Among the Women of Glyndebourne’s Massenet’s Cendrillon, 2019

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