Name: Cinderella, Op. 87
Start: 2023-10-01T00:00:00.000Z
End: 2024-01-06T00:00:00.000Z
Location: Nationaltheater

Organization

Conductor

Gavin Sutherland

Set designer

Julian Crouch

Costume designer

Lighting designer

Natasha Katz

Repetiteur

Charles Andersen

Jason Fowler

Jonathan Howells

Video designer

Daniel Brodie

Bayerische Staatsoper

Frank McCullough

Oliver Haller

Orchestra

Bayerisches Staatsorchester

Ballet

Bayerischen Staatsballett

Bayerisches Junior Ballett München

Choreographer

Christopher Wheeldon

Cinderella, Op. 87

Munich

Germany

Nationaltheater

Baden-Baden

Festspielhaus Baden-Baden

Private

Public

Approved

Take a look behind the scenes of our CINDERELLA production!
If one thing is important in ballet, it is shoes. Even more so in a production like CINDERELLA, where the shoe is a core element in the narrative. In this video we take you to our inhouse shoe making department, where the men's leather boots are produced by hand. And we reveal how Cinderella's ball shoes get their golden touch. Stagers Jason Fowler and Jonathan Howells tell us about the specifics in Christopher Wheeldon's productions. Séverine Ferrolier, in charge of the point shoe administration at our company, shares her expertise and dancer Madison Young describes her take on the title role of Cinderella, whom she portrays has a witty and smart young woman.

Video: Christoph Hertel

OBSERVATIONS: CINDERELLA – Behind the scenes

Nach seinem Familienballett Alice im Wunderland kehrte Choreograph Christopher Wheeldon in der Spielzeit 21/22 mit seiner Version von Cinderella ans Bayerische Staatsballett zurück. Auf die Komposition von Sergej Prokofjew hat Wheeldon ein einfallsreiches und liebenswertes Handlungsballett für alle Generationen geschaffen. Über 40 Tänzer:innen in rund 360 Kostümen von Julian Crouch sind an der aufwändigen Produktion beteiligt. Das Werk, das 2012 als Koproduktion zwischen dem Dutch National Ballet und dem San Francisco Ballet entstanden ist, feierte im November 2021 in München Deutschlandpremiere. Für seine Choreographie orientiert sich Wheeldon am Märchen Aschenputtel der Brüder Grimm sowie an der französischen Version von Charles Perrault. Ähnlich wie schon in Alice im Wunderland schafft es Wheeldon, mit Witz und Phantasie eine Bühnenhandlung zu entwickeln, die sich dem Publikum unmittelbar erschließt. Die Szenen sind ganz aus der berühmten Ballettmusik von Sergej Prokofjew entwickelt und decken ein ganzes Spektrum an Stimmungen und Emotionen ab. Cinderella wird als eine Figur gezeigt, die auf die Kraft des Träumens vertraut, um ihrem Schicksal eine neue Wendung zu geben.

Deutsch

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.

English

Cinderella, Op. 87 by Prokofiev, mán 01 jan 2024, Frá (2023/2024), Hljómsveitarstjóri Gavin Sutherland, Nationaltheater, Munich, Germany

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