Deutsche Oper Berlin’s final new production of the season was the German premiere of Peter Hall’s elegant take on Rossini’s La Cenerentola (or Aschenputtel, as the fairy tale is known in German), originally staged at the 2005 Glyndebourne Festival (seen May 20). Coming at the end of an especially dynamic DOB season that saw premieres of forgotten operas (Die Ägyptische Helena, Marie Victoire) and striking — if not always successful — new visions for more popular fare (Tannhäuser, Ariadne auf Naxos), this traditional production of a repertory standard proved anti-climactic.

Stylish sets and costumes lent a decorous, somewhat musty flavor to the performance: although the designs were well-suited in a good old-fashioned way to the light, energetic nature of Rossini’s early masterwork, they generally lacked the edge and verve that this reviewer looks for in contemporary productions. The most artistically compelling design element on offer was Peter Mumford’s stark, finely focused lighting, realized at DOB by Jerry Skelton.

But there was plenty of good news in the vocal department. Romanian mezzo-soprano Ruxandra Donose lent her earthy, dark-hued voice to the title role. Her singing rang out clear, rich and well-balanced and she navigated the runs with remarkable ease and assurance, a few shrill high notes aside. Her highly polished “Non piu mesta,” capped a thoroughly accomplished performance and earned her showers of applause.

Martina Welschenbach and Lucia Cirillo sang the evil stepsisters, Clorinda and Tisbe, respectively, with appropriate histrionics neatly alternating malice and goofiness. They were a pleasure to watch, even if they often seemed vocally interchangeable. Of the two, Cirillo, an Italian mezzo-soprano, had more success distinguishing herself.

Top vocal honors among the men went to Mario Zeffiri, a Greek tenor known for his interpretations of bel canto repertory. He put his buttery, agile voice to heroic use, tearing through his runs with alacrity, few perceivable breaks and ringing high notes.

DOB ensemble member Simon Pauly, a German baritone, was less supple as Dandini, but he made up for his vocal imperfections with effective comic acting: there was much heft and wit to his somewhat rough-hewn singing.

The evening’s Don Magnifico was bass-baritone Lorenzo Regazzo, who wore his despicable character’s ruin almost proudly, communicating it through a pointed, seething delivery that was occasionally overwhelmed by the orchestra. The routine drowning-out of the soloists seemed due to a last-minute substitution for the scheduled conductor, Paolo Arrivabeni. Filling in for Arrivabeni was Guillermo Garcia Calvo, a young Spanish maestro who is engaged at the Vienna State Opera. He delivered an incisive, intelligent and lively performance that was rich with drama and humor despite its balance problems.

A. J. GOLDMANN