Sergei Prokofiev’s Cinderella ballet was composed while he was writing his opera War and Peace.

Music · Published 3 October 2026 Swipe more like this →

In short: Composed between 1940 and 1944, Prokofiev’s Cinderella remains one of his most celebrated and melodic works. While the familiar fairy tale provides the narrative framework, the ballet is renowned for its jubilant score, lush staging, and a unique, comedic approach to the iconic stepfamily, who are portrayed as more ridiculous than villainous.

The ballet, Op. 87, premiered at the Bolshoi Theatre on 21 November 1945. Conducted by Yuri Fayer, the production featured choreography by Rostislav Zakharov, with Galina Ulanova dancing the title role. The score is notable for its massive orchestral requirements, including a diverse array of percussion instruments like castanets, maracas, and a celesta, alongside a full string section and woodwinds.

Prokofiev’s treatment of the classic story introduces whimsical elements, such as the fairy godmother summoning seasonal fairies and twelve dwarfs to ensure Cinderella returns by midnight. The narrative also includes distinct musical nods to the composer's other works; for instance, the scene involving refreshments at the Spring Ball incorporates a musical quote from his 1919 opera, The Love for Three Oranges. This connection is further highlighted when the Prince offers Cinderella one of three oranges, a rare delicacy in the kingdom.

Beyond the full-length ballet, Prokofiev authorized several suites of music derived from the score, published between 1942 and 1944. These include the Three Pieces (Op. 95), Ten Pieces (Op. 97), and Six Pieces (Op. 102). These extracts allowed audiences to experience the music even before the ballet’s official premiere. The work has continued to evolve since its debut, with notable later interpretations, such as the 1948 production by Ashton, cementing its status as a staple of the repertoire.

The ballet's enduring appeal lies in its balance of traditional storytelling and Prokofiev’s distinct musical voice. By blending the magical transformation of pumpkins and mice with the grounded, often humorous interactions of the stepfamily, the composition transcends its source material. It remains a testament to the composer's ability to weave complex, lush orchestrations into a narrative that is both emotionally resonant and technically demanding for any company that stages it.

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