London Coliseum tickets 9 October 2025 - Cinderella (La Cenerentola) | GoComGo.com

Cinderella (La Cenerentola)

London Coliseum, London, Great Britain
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7:30 PM
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US$ 108

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: London, Great Britain
Starts at: 19:30
Intervals: 1
Duration: 2h 45min
Sung in: English
Titles in: English

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Yi-Chen Lin
Tenor: Aaron Godfrey-Mayes (Don Ramiro)
Baritone: Charles Rice (Dandini)
Mezzo-Soprano: Deepa Johnny (Angelina)
Orchestra: English National Opera Orchestra
Bass-Baritone: Simon Bailey (Don Magnifico)
Creators
Opera Company: English National Opera
Composer: Gioachino Rossini
Author: Charles Perrault
Librettist: Jacopo Ferretti
Director: Julia Burbach
Overview

Romance can be such a chore. Enjoy a brand new production of Rossini’s opera set in contemporary London. New for the 25/26 season, it’s Cinderella, but not as you know it.

Set in contemporary London, this fresh take on the family and fairytale favourite, is a modern-day re-imagination of Gioachino Rossini’s romantic opera classic.

Cinderella dreams of finding her Prince Charming. But when you’re always cleaning up after your needy stepsisters there’s no time to make your dreams come true.

Longing for something real: a genuine connection untouched by status or appearances, and a life where she can be seen – and loved – for who she really is, Cinderella’s imagination keeps her going. Until one special encounter with Prince Don Ramiro changes everything. He’s instantly charmed by her warmth and courage – will Cinderella find her happily ever after, after all.

Staging & Score
It’s the legendary tale of Cinderella, with a few magical twists. Instead of one Fairy Godmother, Cinderella and Don Ramiro are guided by a chorus of ancestral spirits, an otherworldly team who steer the pair towards love with a sprinkling of fairy dust.

Expect surprises: there are pumpkins, mice and a glass slipper, although not where you might think. And of course, no Cinderella would be complete without a beautiful gown fit for a Princess.

One thing you can be certain of is the timeless score…Rossini demonstrates his ability to write bubbling, effervescent music suitable for a comedy that matches The Barber of Seville. With arias that reach for the heights and ensembles that fizz, Cinderella (La Cenerentola) shows him at the peak of his powers.

Singers & Creatives
Our heroine, Angelina is played by mezzo-soprano Deepa Johnny, and her Prince Charming, Don Ramiro is played by tenor Aaron Godfrey-Mayes both making their ENO debut. Charles Rice will play the role of Dandini, Don Ramiro’s valet and Simon Bailey plays Don Magnifico, Angelina’s stepfather, supported by former Harewood Artist David Ireland as Alidoro.

This brand-new production is directed by International Opera Award-nominated director Julia Burbach and conducted by Yi-Chen Lin.

History
Premiere of this production: 25 January 1817, Teatro Valle, Rome

La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.

Synopsis

In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto, simply for ease of staging.

Time: Late 18th century – early 19th century
Place: Salerno (Italy)

Act 1

Angelina, known to her stepfather and stepsisters as "Cenerentola", is forced to serve as the maid in her own home. She sings of a king who married a common girl ("Una volta c’era un rè"). A beggar arrives; her stepsisters, Clorinda and Tisbe, want to send him away, but Cenerentola gives him bread and coffee. Courtiers follow, announcing that Prince Ramiro will come to visit while he searches for the most beautiful girl in the land to wed. Cenerentola's stepfather, Don Magnifico, hopes to use this as an opportunity to save his own failing fortune.

When the room is empty, Ramiro enters alone, disguised as a valet. The "beggar" - in fact, his tutor, Alidoro - has informed him of a goodhearted young woman spotted here. Ramiro intends to find her incognito. Cenerentola returns, and she and Ramiro are attracted to each other (duet: "Un soave non-so che"), but when he asks who she is, she's overwhelmed and flees.

Finally, the "prince" arrives – the real valet, Dandini, who has taken his master's place - and Magnifico, Clorinda, and Tisbe fall over themselves to flatter him. He invites the family to a ball that evening, where he plans to find his bride; Cenerentola asks to join them, but Magnifico refuses (quintet: "Signor, una parola"). This callousness isn't lost on Ramiro. Alidoro, still in his rags, returns to inquire after a third daughter in the house; Magnifico claims she has died. Left alone with Cenerentola, Alidoro promises to take her to the ball himself, and that God will reward her kindness ("Là del ciel nell’arcano profondo").

The prince and his valet have retired to Ramiro's country house in some confusion, as neither of Magnifico's daughters resembled the worthy bride Alidoro had described. When Clorinda and Tisbe arrive, Dandini gives them a little test: he offers his "valet" to whichever sister the "prince" does not marry. The ladies are outraged at the idea of marrying a servant. Alidoro then arrives with a beautiful, unknown lady who strangely resembles Cenerentola. Unable to make sense of the situation, they all sit down to supper, feeling as if they are in a dream.

Act 2

Magnifico frets over the competition his daughters now face from the strange lady ("Sia qualunque delle figlie"), but Cenerentola isn't interested in the "prince," saying she's fallen in love with his servant. An overjoyed Ramiro steps forward; however, Cenerentola tells him that she's going home and doesn't want him to follow her. If he really cares for her, she says, he will find her, giving him one of a matching pair of bracelets. The prince determines to do exactly that ("Sì, ritrovarla io giuro").

Meanwhile, Magnifico confronts the disguised Dandini, insisting that he choose one of his daughters to marry. Dandini tries to stall, but is forced to admit that he's actually the valet and not the prince at all (duet: "Un segreto d’importanza").

A furious Magnifico and his daughters return home, where they order Cenerentola, back in rags, to serve them. A storm is thundering outside. Alidoro sabotages Ramiro's carriage so that it breaks down in front of Magnifico's manor, forcing the prince to take refuge within. Cenerentola and Ramiro recognize each other's bracelets; the others comment on the situation (sextet: "Siete voi?"). When Ramiro threatens Cenerentola's recalcitrant family, she asks him to forgive them.

Ramiro and Cenerentola are married, and celebrate their wedding at the palace. Magnifico tries to win the favor of the new princess, but she asks only to be acknowledged, at last, as his daughter. She reflects on the misfortune to which she was born and the sudden reversal of her fate, then forgives her family for all her past unhappiness, adding that her days of sitting sadly by the fire are over ("Nacqui all'affanno... Non più mesta"). Everyone present acknowledges that she truly is worthy of the throne.

Venue Info

London Coliseum - London
Location   St Martin’s Lane

The London Coliseum (also known as the Coliseum Theatre) is a theatre in St Martin's Lane, Westminster, built as one of London's largest and most luxurious "family" variety theatres.

Opened on 24 December 1904 as the London Coliseum Theatre of Varieties, it was designed by the theatrical architect Frank Matcham for the impresario Oswald Stoll. Their ambition was to build the largest and finest music hall, described as the "people's palace of entertainment" of its age.

The London Coliseum was built by the theatrical architect Frank Matcham who intended it to be one of London's largest and most luxurious "family" variety theatres. Construction began in 1903 and the venue opened on 24 December the following year as the London Coliseum Theatre of Varieties. It is located in St Martin's Lane, London.

Matcham built the theatre for the theatrical impresario Sir Oswald Stoll and had the ambition of it being the largest and finest "People’s palace of entertainment" of the age.

Matcham wanted a Theatre of Variety – not a music hall but equally not highbrow entertainment. The resulting programme was a mix of music hall and variety theatre, with one act - a full scale revolving chariot race - requiring the stage to revolve. The theatre's original slogan was PRO BONO PUBLICO (For the public good). It was opened in 1904 and the inaugural performance was a variety bill on 24 December that year.

English Heritage, in its description of the theatre when it was given listed status in 1960 notes that it is "exuberant Free Baroque ambitious design, the Edwardian "Theatre de Luxe of London" with richly decorated interiors and a vast and grandiose auditorium." The description continues: "Lavish foyer and circulation areas with marble facings, culminating in vast 3-tier auditorium with wealth of eclectic classical detail of Byzantine opulence, some motifs such as the squat columns dividing the lowest tier of slip boxes, backing the stalls, almost Sullivanesque; pairs of 2-tiered bow fronted boxes with domed canopies at gallery level and semi-domed, Ionic-columned pairs of 2 tiered orchestra boxes, contained in arched and pedimented frames surmounted by sculptural groups with lion-drawn chariots. Great, semi-circular, blocked architrave proscenium arch with cartouche- trophy keystone."

The inaugural performance was a variety bill on 24 December 1904, but it "was a total failure and closed down completely only two years after opening in 1906 and remained closed until December of 1907 when it was reopened and at last became successful." In 1908, the London Coliseum was host to a cricket match between Middlesex and Surrey. In 1911, dramatist W. S. Gilbert produced his last play here, The Hooligan.

The theatre changed its name from the London Coliseum to the Coliseum Theatre between 1931 and 1968 when a run of 651 performances of the musical comedy White Horse Inn began on 8 April 1931. Additionally, Arthur Lewis notes that:

Pantomimes began in 1936 with Cinderella and continued regularly until 1946. In 1947 the musical Annie Get Your Gun was staged at the Coliseum and had a staggeringly successful run for the time, of 1,304 performances and three continuous years which was the longest run in theatrical history. There then followed a long run of major American hits beginning with Kiss Me, Kate in 1951, Guys And Dolls in 1953, Pajama Game in 1955, and Damn Yankees in 1957. But this exceptional period did at last come to an end in 1957 when the production of The Bells Are Ringing failed to enthrall anyone.
The Coliseum reverted to the original name when the Sadler's Wells Opera Company moved there in 1968 and, in 1974, the Company changed its name to become the English National Opera; it bought the freehold of the building for £12.8 million in 1992. The Coliseum hosted both the 2004 and 2006 Royal Variety Performances and is also the London base for performances by English National Ballet, which perform regular seasons throughout the year when not on tour.

The Who performed there and recorded their concert, on 14 December 1969.

Important Info
Type: Opera
City: London, Great Britain
Starts at: 19:30
Intervals: 1
Duration: 2h 45min
Sung in: English
Titles in: English
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