CINDERELLA

recommended for 8 years and older

Ballet in three acts - 2012

Choreography Christopher Wheeldon. Music Sergej S. Prokofjew. New Production.

Premiere at 20. December 2020

Munich Opera Festival Wednesday, 13. July 2022, 07:30 pm o'clock – 10:20 pm o'clock, Nationaltheater.

Duration est. 2 hours 50 minutes

Munich Opera Festival

Prices K , € 132 /115 /- /- /- /- /- /10

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Choreography	Christopher Wheeldon
Music	Sergej Prokofjew
Libretto	Craig Lucas
Conductor	Gavin Sutherland
Set Design	Julian Crouch
Associate Scenic Designer	Frank McCullough
Associate Costume Designer Associate Costume Designer	Oliver Haller
Prop Design	Basil Twist
Lighting	Natasha Katz
Video	Daniel Brodie
Stager	Charles Andersen Jason Fowler Jonathan Howells

Cinderella	Laurretta Summerscales
Prinz Guillaume	Jinhao Zhang
Stiefmutter Hortensia	Kristina Lind
Stiefschwester Edwina	Vera Segova
Stiefschwester Clementine	Margarita Fernandes
Benjamin	Jonah Cook
Cinderellas Vater	Norbert Graf
Cinderellas Mutter	Rhiannon Fairless
König Albert	Krzysztof Zawadzki
Königin Charlotte	Séverine Ferrolier
Kammerdiener Alfred	Jeremy Rucker
Tanzmeisterin Madame Mansard	Chelsea Thronson
Vier Schicksale	Nikita Kirbitov Vladislav Kozlov Ariel Merkuri Sergio Navarro
Solo Frühling	Marina Duarte
Solo Sommer	Shale Wagman
Solo Herbst	António Casalinho
Solo Winter	Jeanette Kakareka

Ensemble of the Bayerisches Staatsballett

Bayerisches Staatsorchester

British choreographer Christopher Wheeldon, long since also well renowned in Munich returned to the Bayerisches Staatsballett in the 2021/22 season with his version of Cinderella. With the composition by Sergei Prokofiev, Wheeldon (associate artist of the Royal Ballet London) has once again created an imaginative and loveable narrative ballet for all generations. The piece, developed in 2012 as a co-production of the Dutch National Ballet and the San Francisco Ballet, celebrated its German premiere in Munich in November 2021.
Wheeldon remains true to Grimm’s original Cinderella fairy tale with his choreography. More than forty dancers relate the story of the poor girl and her wicked stepmother – complete with spectacular balls, ornate shoes and an insistent prince. Similar to that already applied in Alice’s adventures in Wonderland, with wit and imagination Wheeldon manages to illustrate a world in which not only the characters open up directly to the audience – so too do the associated underlying themes, such as transformation and development. Set designer Julian Crouch draws for the stage set and is also responsible for the 360 costumes, which afford the choreographic work an impressive background framework.

Act One

Scene One: Garden Estate

Young Cinderella is playing outside with her mother and father when suddenly her mother becomes ill. In terrifying rapidity, her mother is taken from her and Four Fates are left to watch over Cinderella, who weeps over her mother’s grave. A tree sprouts from her tears.

Scene Two: Royal Palace

The young Prince Guillaume and his friend Benjamin (the valet’s son) are pursued by Madame Mansard (the prince’s dancing mistress). They dash through the hallways of the palace, causing havoc. Suddenly King Albert and Queen Charlotte appear, stiff and formal. The king is appalled at Guillaume’s lack of discipline, but the queen is more forgiving. The boys dash off again into the garden.

Scene Three: The Grave

Cinderella, now older, brings flowers to her mother’s grave. Two girls, Clementine and Edwina, appear, followed by their mother Hortensia, on the arm of Cinderella’s father. Cinderella realizes that this is to be her new family. Hortensia hands Clementine a bouquet to present to Cinderella who, horrified on behalf of her dead mother, discards it. Her father insists that she take the flowers, but Cinderella hurls them at Hortensia’s feet. Cinderella’s father will not tolerate this behavior. Cinderella assumes a subservient attitude towards the women, thus sealing her own fate.

Scene Four: Royal Palace Gallery

King Albert attempts to explain to his grown son the political connections to be gained by marrying a titled princess. Queen Charlotte writes invitations to an upcoming ball, where the prince will meet these prospective brides. Guillaume is distracted by Benjamin, who imitates the many foreign princesses in the portraits hanging on the walls. King Albert becomes enraged at his son’s lack of responsibility to his future kingdom, but Guillaume can’t believe his parents would force him into a loveless marriage. Albert insists the invitations be delivered in person by the prince himself. Guillaume and Benjamin hatch a plan to trade places, pretending to be one another.

Scene Five: Cinderella’s Kitchen

Cinderella stoically serves her family breakfast. The briefest sign of tenderness towards Cinderella from her father is frowned upon by Hortensia. Edwina follows closely in her mother’s footsteps, gaining favors from her. Clementine, the sweeter stepsister, is bullied into following suit. A poor beggar arrives at the door seeking food and warmth. Taking pity, Cinderella brings him into the kitchen, but Hortensia, horrified, casts him out again. “The Prince” (Benjamin) appears at the door. He has discovered the poor beggar outside and insists that Hortensia provide him with food and warmth. Hortensia feigns concern and orders Cinderella to help the beggar. “The Prince” has come to deliver invitations to a ball where he shall choose his bride. Left alone with Cinderella, the beggar (Prince Guillaume in disguise) sees true kindness in this girl. The two pretend to be at the ball, laughing and dancing.

Scene Six: The Night of the Ball

Cinderella is cleaning the kitchen when the rest of her family appears, dressed for the ball. There was an invitation for Cinderella, but Hortensia throws it into the fire, and her family departs for the palace without Cinderella. The Fates, who have continued to watch over Cinderella, present her with her invitation and lead her to her mother’s grave.

Scene Seven: The Grave

From the tree, spirits of Lightness, Fluidity, Generosity, and Mystery appear to teach Cinderella the steps she will need for the ball. Embraced by the branches, Cinderella is transformed and the Fates send her on her way to the ball – cryptically warning her to keep an eye on the time.

Interval

Act Two

Scene One: The Palace Ballroom

The ball is underway when Cinderella’s family arrives. The king and queen witness the rather tipsy arrival of Prince Guillaume and Benjamin, neither in correct attire for such a formal occasion. Cinderella’s stepsisters still believe Benjamin to be the prince, giving the two young men another chance for deception. Guillaume finds he is uninterested in any of the ladies, stepsisters included. A magical atmosphere fills the ballroom as a mysterious masked girl arrives. Guillaume is immediately drawn to her. Cinderella, recognizing Guillaume as the urchin, turns to flee, but is gently guided back to him by the Fates. The couple waltz together. Seeing the interest the prince shows in this mysterious beauty, Hortensia takes to the bottle, humiliating herself. Benjamin dances with Clementine, whom he likes. Guillaume and Cinderella dance, falling deeper in love. When Hortensia wants to rip off Cinderella’s mask, it is time for her to flee. In the chaos caused by her sudden departure, she leaves behind one golden shoe. Guillaume vows to marry her.

Interval

Act Three

Scene One: In The Kingdom

Benjamin and Guillaume search for Cinderella, trying the shoe on every female foot they can find.

Scene Two: Cinderella’s Kitchen

Cinderella awakens, and with the help of the Fates, remembers her astonishing night at the palace. Hiding the other golden shoe on the mantelpiece, she resigns herself to her daily chores. Clementine tells Cinderella of the boy she met, and then Edwina turns suspicious when she spies Cinderella dancing steps from the ball. Hortensia viciously attacks Cinderella, and her father must step in. Unannounced, Benjamin and Guillaume arrive, exhausted from trying the shoe on so many feet. When the shoe does not fit either of the stepsisters, Hortensia throws it into the fire. Cinderella comes forward with the matching shoe: Prince Guillaume has found his princess. Cinderella and her prince leave the family behind. All is not lost for Clementine, however, as Benjamin returns to take her with him. And a royal wedding is held.

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