Cinderella (ballet) — Prokofiev’s Op. 87

Creation and first production

The ballet was completed during World War II and premiered on November 21, 1945; the premiere was conducted by Yuri Fayer at the Bolshoi Theatre. The original choreography was by Rostislav Zakharov, and the title role was danced by Galina Ulanova. From its first staging the work combined fairy-tale charm with the expressive demands of Soviet-era ballet production.

Structure and musical character

Prokofiev’s score is expansive and varied: it contains lyrical pas de deux, character dances for the stepsisters and court, ensemble divertissements and dramatic scenes that advance the plot. The composer employs recurring themes and clear orchestral colorings to define characters and moods — for instance, a graceful Cinderella theme, more angular material for the stepsisters, and glittering textures for the ball. Several sequences are written as classical variations, pas de deux and waltzes suitable for staged choreography.

Principal roles and typical numbers

• Cinderella — the heroine, often shown in both expressive solos and intimate pas de deux.
• The Prince — who shares the ballet’s major pas de deux.
• Stepmother and Stepsisters — sources of comic and pantomime material.
• Fairy Godmother and Court — supporting roles that enable scene changes and spectacle.

Prokofiev later arranged orchestral suites and piano transcriptions drawn from the full score; three orchestral suites and several sets of piano pieces make the music accessible in concert and recital settings.

Performance history and legacy

Since the Bolshoi premiere the ballet has entered the repertory of many companies and has been reinterpreted by a variety of choreographers and directors. Productions range from faithful stagings of the original Soviet-era choreography to modernized and stylized versions that emphasize different dramatic aspects. Its combination of memorable melodies and theatrical variety has secured the work a place alongside Prokofiev’s other major theatrical scores.

For further reading on the work and its score, see general references and production histories of Cinderella, composer biographies of Prokofiev, and studies of Soviet ballet institutions such as the Bolshoi Theatre. Scholarship on the original scenario by Nikolai Volkov and the Perrault source remains useful for understanding narrative choices in various stagings.