When Rossini was approached with the idea of writing a Cinderella opera, he agreed only on the condition that there would be no magic in it. Librettist Jacopo Ferretti therefore set about creating a new version of the story in which the Fairy Godmother is changed into a philosopher, Prince Charming's tutor in fact, and the wicked stepmother is replaced by a stepfather of similar character.

The result, La Cenerentola, is probably Rossini's most popular and frequently performed opera with the obvious exception of ll Barbiere di Siviglia. Cenerentola and Barbiere have a fair bit in common. Both give singers the chance to display their skills spectacularly, both are comedies of course, and they achieve their respective aims almost to perfection.

But don't expect the wit, fast pace and sharp characterizatons of Barbieri in Cenerentola. The latter's humour is less pointed, broader perhaps, and more static. Its plot unfolds in a more measured, artificial fashion and, of the two, it is more a "singers' opera." For those who like singers' operas, though, it's a sparkling delight.

This Vienna State Opera production is also a delight. Ann Murray's Cenerantola is exceptionally three-dimensional and her singing is a wonder, completely assured in the endless coloratura passages the score prescribes.

There's not much scope for three-dimensionality in the part of Don Ramiro, the opera's Prince Charming, but Francisco Araiza is stunning vocally. His coloratura is every bit as demanding as Murray's and delivered as well, if not better. There aren't many tenors who can pull it off the way he does.

There is a fair bit of coloratura written into the part of Dandini, Don Ramiro's squire, but baritone Gino Quillico isn't quite as handy with it as Murray and Araiza. In other respects he sings beautifully and has the glib character of the role down cold.

There are times when Walter Berry's Don Magnifico (the wicked stepfather) just about steals the show. There are other baritones who interpret Magnifico a bit more sympathetically, but Berry renders him as a jerk, pure and simple. It works wonderfully.

The lesser roles are well served too. Conductor Abbado and the Vienna Philharmonic provide a wonderful musical backbone to the procedings, the stagecraft is terrific and . . . well, if you like this opera, you'll love this DVD.