The much-loved story of Cinderella has captured hearts and minds for centuries and this historic color recording from 1969, full of dreams and magic, shows...

The much-loved story of Cinderella has captured hearts and minds for centuries and this historic color recording from 1969, full of dreams and magic, shows why. Infused with the drama of Prokofiev’s luscious score, the tale of transformation provided creative inspiration for Frederick Ashton’s acclaimed first full-length ballet. His enchanting production stands as a showcase of choreographic mastery and features one of the Royal Ballet’s most celebrated partnerships with Antoinette Sibley as Cinderella and Anthony Dowell as the Prince. Ashton’s distinctive theatricality is also revealed in a touching and hilarious cameo as one of the Ugly Sisters opposite Robert Helpmann.

REVIEW:

The film quality is unexpectedly fine for its age, far better than for the Fonteyn/Nureyev Romeo and Juliet of just three years earlier. John Lanchbery excels in conducting the music, and the orchestra shines as well. Cinderella is often dismissed as being a second-rate score. While not on the level of inspiration of Romeo & Juliet, the technically skilled hand of the same composer remains evident, and much of the score proved apt to its subject and provided enjoyment. Ironically, the places where Prokofiev’s inspiration fails him and he falls back on note-spinning are precisely the ones where it would be expected to find him at his peak, in the act II and act III love sequences for Cinderella and the Prince. One wishes that some of the lyrical music he lavishes on the four seasons in Act I had been used at these points instead. But this exquisite production makes a totally winning case for the work that minimizes the flaws and amplifies the virtues; recommended with total delight.

-- Fanfare