Reviews

‘ The mother, Hannah Morley, invited boos every time she stepped onstage. Her aspirations to rise above her station are ridiculous, although she is already well-heeled, a class or two above her ill-fated husband and overdressed: one of many spoofs by the costume designers of RBC's collaborators, The London College of Fashion, who came up trumps every time.

Morley's performance was all the more in-yer-face, a vile cow whose screwed-up visage, really grotesque - not just ambitious - was as terrific as it was pastiche, thanks to her proximity onstage. Each time she opened her mouth, social climbing, abetted by her miserable offspring, or bullying anyone in sight, one marvelled at not just the richness of her tone, but the maturity. She produced a wonderful, arresting, stylish mezzo-soprano: in low range, which Massenet demands, to dizzying impact, almost a wonderful contralto, of stirring richness. Such an unerring treat, one almost forgave her dreadfulness…’

Roderic Dunnett for Classical Music Daily for The Royal Birmingham Conservatoire’s Cendrillon, Massenet 2024

‘ The RBC's Hannah Morley, terrific as Cinders' dire and revolting stepmother, and a mezzo of real stage presence’

Roderic Dunnett Classical Music Daily for The Royal Birmingham Conservatoire’s Cendrillon, Massenet 2024