Cinderella at 80, Part 3 — Prokofiev’s Cinderella: A Soviet Fairy Tale with Soul
- Roman Mykyta
- 6 days ago
- 6 min read
Updated: 4 days ago
Eighty years ago, in the midst of a world at war, Sergei Prokofiev brought to life one of ballet’s most unforgettable heroines — Cinderella. In his hands, a familiar fairy tale became a story of resilience, grace, and hope.
In this five-part series, I revisit Cinderella as both artist and admirer — tracing her journey from ancient myth to the stage, through landmark productions, and finally to the ways she continues to inspire movement and creativity in my own work.
Adapted from a compilation of my own research, writing, and choreographic exploration, this series celebrates the cultural, musical, and personal legacy of Prokofiev’s masterpiece.
Join me in honoring eight decades of transformation, beauty, and magic.
Cinderella at 80: Prokofiev’s Cinderella — A Soviet Fairy Tale with Soul
When Sergei Prokofiev began composing Cinderella in the early 1940s, the world was in turmoil. The Soviet Union was deeply engaged in World War II, artistic expression was tightly controlled, and traditional ballet coexisted uneasily with the demands of socialist realism. Yet from these constraints, Prokofiev crafted a work that was both deeply human and enchantingly magical — a fairy tale with a soul.
From Concept to Composition
Prokofiev’s path to Cinderella was shaped by his previous experiences and the political realities of his time. Having gained recognition for ballets like Romeo and Juliet, he had learned to navigate the delicate balance between artistic vision and state expectations. Cinderella offered an opportunity to explore a familiar narrative — the triumph of virtue, love, and hope — while infusing it with his own musical ingenuity.
At first, the project was intended to be based on the Russian folktale, Snegurochka (The Snow Maiden). Prokofiev resisted, unwilling to replicate Tchaikovsky’s style or simply retell a pre-existing work. Instead, he turned to Cinderella, seeing in her story the possibility of a character who could be “real” within the confines of a fairy tale. He envisioned her as a young maiden: hardworking, virtuous, yet fully human in her responses to hardship, humor, and love.
Musical Themes: Character Through Sound
Prokofiev’s genius lay in his ability to convey character, emotion, and narrative through music alone. For Cinderella, he developed three central musical themes: Cinderella’s suffering, her longing, and her love for the Prince.
The suffering theme opens the ballet, expressed through quiet, watchful orchestration punctuated by sighs and moans. It conveys Cinderella’s oppression and hardship without descending into melodrama, allowing the audience to empathize with her situation. The longing theme is delicate and lyrical, evoking wistfulness and hope. Finally, the love theme, introduced when Cinderella and the Prince meet, is both ethereal and grounded, capturing the tension between the fairytale romance and a realistic emotional connection.
Prokofiev’s musical choices also extend to characterization. Cinderella’s innocence and resilience are mirrored in light, flowing melodies, while the Prince’s heroic qualities are expressed with tall, bold, and muscular motifs, described by Prokofiev as “wind and flame.” These musical archetypes root the fairy tale in a sense of reality, even as magic and transformation unfold on stage.
The Premiere Amid Wartime Hardship
World War II profoundly shaped the creation and staging of Cinderella. When Prokofiev began composing in 1941, the Kirov Ballet—the company for whom the ballet was originally commissioned—was evacuated to Perm to escape the advancing front lines. Resources were scarce, paper and instruments were limited, and rehearsal spaces were makeshift. Yet these challenges did not hinder Prokofiev’s creativity; rather, they shaped the ballet into a work of resilience and ingenuity.
During this period in Perm, Prokofiev collaborated with choreographer Konstantin Sergeyev, and later with Rostislav Zakharov, who would ultimately choreograph the Bolshoi premiere. He refused to allow alterations to his published score, insisting on maintaining the integrity of his musical vision. Early on in the process he engaged Vakhtang Chabukiani to imagine dances set only to a metronome. Prokofiev recorded his observations and then began composing.
Although the Kirov had been the original commissioning company, Cinderella premiered instead at the Bolshoi on November 25, 1945, with Galina Ulanova in the titular role—largely because wartime conditions had prevented a full production in Perm. For the premiere, Prokofiev’s orchestration was considered not effectively weighted enough. An in-house composer made the orchestration more brassy; the effect made some scenes incongruous and it surprised the music critics. The bourgeoisie problem became relevant again. The court scene was comically satirized; but then it seemed like Cinderella had no safe haven, at home or in society, the only solace being the Prince’s love.
In 1946, the ballet was reconceived and choreographed by Sergeyev for the Kirov, reinstalling Prokofiev’s original score. Those who heard the full score appreciated the music for its impressionistic quality. Sometimes the perfume of a melodic phrase is experienced and then dreamily drifts away, giving way to another.
Innovation in Choreography
Cinderella’s choreography was as innovative as its score. One notable breakthrough was the treatment of the Stepsisters. Traditionally, comic characters in ballet were largely pantomime, with little actual dancing. Prokofiev’s score required fully realized variations, transforming these grotesque, exaggerated roles into opportunities for expressive and technically skilled performance.
The two Stepsisters are archetypal opposites — one “skinny,” one “dumpy” — and their grotesque movements are highly stylized, anticipating elements of contemporary dance. This nuanced approach, balancing humor and technical prowess, helped establish Cinderella as a bridge between classical ballet and modern expression.
Returning to what it would mean for Cinderella to be considered the first “contemporary” ballet, this has largely to do with the choreography of the Stepsisters. Up until this time, dramatic roles focused on pantomime, but such characters hardly danced. Soviet (and later Russian and Ukrainian) productions have always adhered to the tradition of having women presenting these roles; furthermore they are meant to dance in the ballet, each of them given respective variations, according to Prokofiev’s score. Their grotesque disposition requires their movement to be highly original and characteristic. One Sister is considered “skinny” and the other is considered “dumpy.” There had been similar roles in the repertoire of the Ballet Russes, such as Petrushka. However even these roles had some connection to character dance, in Petrushka’s case - Russian styling. The Stepsisters are archetypes that belong to both no country and all countries. Their grotesque dancing is driven more by physical cues or limitations - i.e. to dance like a noodle; to constantly sickle one’s feet; to have one’s weight always misplaced. Unlike modern dance, which cultivates a consistent style and general way of moving, contemporary dance is sometimes choreographed with similar movement cues or limitations as a starting point. The Stepsisters’ nuanced style of dancing could be considered the earliest expression of contemporary dance.
Balancing Fairy Tale and Reality
Prokofiev’s Cinderella is unique in its grounded approach. While the ballet embraces magical elements — Fairy Godmother transformations, anthropomorphic helpers, and an ethereal palace — the heroine is convincingly human. She grows weary, feels frustration, and reacts to her environment with realistic emotion. Her journey mirrors the psychological depth of literary characters, while still satisfying the demands of spectacle and theatricality.
The palace, for instance, is both otherworldly and inviting. It embodies the fairy tale’s grandeur while offering a space in which Cinderella’s virtues are recognized and rewarded. Outdoor scenes, such as those with the Fairy Godmother’s assistance, heighten the sense of wonder, reinforcing the magical possibilities of the natural world. Prokofiev’s music ensures that each transformation and encounter feels emotionally coherent, grounding the fantastical elements in human experience.
Artistic Defiance Within Soviet Constraints
Creating a ballet during Stalinist Russia demanded careful negotiation. Fairy tales were sometimes dismissed as bourgeois distractions, yet Prokofiev’s Cinderella subtly resisted these limitations.
Prokofiev created Cinderella amid World War II and strict Soviet oversight, balancing creative vision with external constraints, where every artistic decision was scrutinized and personal expression was tightly controlled. Yet the result is a score full of hope, lyricism, and imagination. The ballet’s enduring charm shows that innovation thrives even under pressure.
Legacy of the Original Production
The Bolshoi premiere set a standard for subsequent productions. Galina Ulanova’s interpretation of Cinderella combined technical brilliance, emotional depth, and interpretive subtlety. The ballet’s combination of narrative clarity, expressive choreography, and Prokofiev’s intricate score ensured its enduring appeal.
The success of Cinderella also paved the way for Western productions to reinterpret the ballet, blending its Russian roots with diverse cultural perspectives. Its first appearance in England with Frederick Ashton, for example, merged the grandeur of classical ballet with British theatrical tradition, introducing new generations to Cinderella’s charm and resilience.
Why Prokofiev’s Cinderella Endures
Prokofiev’s Cinderella resonates because it is more than a fairy tale: it is a study in humanity, resilience, and artistic innovation. Its music conveys character and emotion, its choreography bridges tradition and modernity, and its narrative speaks to the universal desire for justice, love, and transformation.
Even 80 years after its premiere, audiences are captivated by the ballet’s combination of humor, pathos, and wonder. The story’s enduring power lies in its adaptability: it can be reimagined by choreographers, enriched by performers, and appreciated anew by each generation. Cinderella is, in every sense, a fairy tale for all time — a story that reflects both the human spirit and the transcendent power of art.