En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Cinderella

Avec Cendrillon, le Ballet de l’Opéra de Paris fête la fin de l’année 2018 avec féérie en faisant revivre l’héritage d’un des plus emblématiques chorégraphes de son histoire, Rudolf Noureev. 

The National Ballet of Japan gave an excellent rendition of Sir Frederick Ashton's Cinderella, in spite of many new faces and role debuts.

The Royal Ballet revive Ashton's masterpiece with some superlative leading performances in a production that is visually rich and imaginative.

Stanton Welch's Cinderella has mostly worn well at Houston Ballet, anchored by a delightful rewriting of the central love story and packed with marvellous, witty details.

Christopher Hampson's reinvented version of his own original Cinderella, Cinders!, is a triumph of theatre, whether the central character is danced by a man or a woman.

Christopher Wheeldon's Cinderella in-the-round is an immersive experience in the grand ballroom scene but the romantic duets are robbed of an essential intimacy.

With sumptuous new set designs and costumes, The Royal Ballet are in splendid form in Sir Frederick Ashton's Cinderella.

Devon Carney's Cinderella is fast-moving and busy, with the stepsisters cavorting across the stage as the epitome of pantomime dames

A much beloved production with magical charm, National Ballet of Japan's Cinderella, choreographed by Fredrick Ashton, is successfully performed to a full house audience, thanks to coaching by Miyako Yoshida who performed the role in her days at The Royal Ballet. 

Manuel Legris, whom Nureyev appointed étoile in Paris in 1986, presents an evening of Nureyev choreographies in Milan. 

Sumptuous costumes, brilliant colors, excellent dancers create a glorious show which is unfortunately too long for the material. 

Wheeldon’s Cinderella is the kind of production that so enthralls, you immediately want to make plans to see it again.

Northern Ballet reaches its half-century with a gala at Leeds Grand Theatre featuring highlights from its "greatest hits".

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

A welcome revival of Christopher Hampson's imaginative reworking of this perennial fairy tale 

Matthew Bourne offers a cleverly structured blockbuster that looks and sounds ravishing.

An enterprising programme combined a striking WWI commemoration from Mark-Anthony Turnage with sumptuous ballet suites from Prokofiev and Ravel, with Nikolaj Znaider rhapsodic in Bruch.

The show stealer is the opening scene of Act III, as the curtain rises to reveal a line of females, both human and forest-creature, seated, waiting to try on the slipper the prince holds. It’s brilliant, laugh-out-loud clever.

David Bintley's 2010 Birmingham Royal Ballet version of Cinderella is the antithesis to Ashton. Instead of pantomime, he offers pure fairy tale every magical step of the way.

A fairy-story for grown-ups. Wheeldon's charming Cinderella for the San Francisco Ballet. 

Who needs a pumpkin carriage ride to transport you to the ball when you could surf celestial webs instead? Certainly not Prokofiev's Cinderella, if Alexei Ratmansky’s 2013 Australian Ballet production is anything to go by.

Towering architectural sets, expansive multifaceted dancing, and an detailed playing from an exceptional orchestra deliver an emotional performance in Alexei Ratmansky's Russian adaptation of Prokofiev's Cinderella for Mariinsky Ballet.  

Christopher Wheeldon's Dutch National Ballet production of Cinderella takes a fresh look at Prokofiev's ballet, but the magic comes from Julian Crouch's stunning sets and costumes.

Ballet San Jose brings Ben Stevenson's Cinderella to the stage, in a lively production that appeals to adults and kids both.

The first ballet company appearing in this year’s Hong Kong Arts Festival was the Dutch National Ballet, with Christopher Wheeldon’s production of Cinderella. 

Nadezhda Batoeva , a younger generation ballerina at the mariinsky, excels as Cinderella, in an otherwise disapointing production, performed here at BAM , New York City.

It was clever programming to bookend the Mariinsky’s three-week London residency with two Prokofiev full-length ballets – starting with its classic, but dated, 1940 Romeo and Juliet, and ending with the contemporary chic of Alexei Ratmansky’s Cinderella.

Carla Escoda reports from San Francisco's War Memorial Opera House where San Francisco Ballet reprised Christopher Wheeldon's lavish Cinderella after its much-heralded debut last season.  

Stéphane Denève’s astute dramatic sensibilityis to the fore in dance-related Prokofiev, Poulenc and Stravinsky in Philadelphia.

Prokofiev’s Cinderella is not the easiest ballet to love. In his Romeo and Juliet a timeless story and lush, action-driven score ensure that even mediocre productions are heartbreaking.

Concert performances of ballets are a rare event at the BBC Proms and Wednesday night gave us the Proms première of what is a very popular ballet score on the stage. Prokofiev’s ballet, Cinderella, follows the traditional story of the downtrodden heroine, unlike the two operas which take this tale as their basis, and the music overflows with the magic of this beloved children’s story.

The story of Cinderella needs no introduction but the inherent challenge for any new production of this well known fairy tale is to offer an experience that contrasts rather than compares with the much-loved Ashton production that has dominated above all others for over 30 years.This new production by David Bintley in celebration of 20 years of Birmingham Royal Ballet is an absolute delight.

Upon discovering that Prokofiev had written the score for Cinderella during the second world war, Matthew Bourne was inspired to set his production of the classic fairytale in London during the Blitz, drawing heavily upon the influence of the films of the period. It was a brilliant move.