Royal Opera House (Covent Garden) tickets 3 January 2025 - Cinderella |


Royal Opera House (Covent Garden), Main Stage, London, Great Britain
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1 PM 7:30 PM
US$ 117

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Ballet
City: London, Great Britain
Starts at: 19:30
Acts: 3
Intervals: 2
Duration: 2h 45min

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Ballet company: The Royal Ballet
Conductor: Jonathan Lo
Orchestra: Orchestra of the Royal Opera House
Composer: Sergei Prokofiev
Choreography: Frederick Ashton
Librettist: Nikolai Volkov

This Christmas, be transported into an ethereal world where a sprinkling of fairy dust makes dreams come true.This Christmas, be transported into an ethereal world where a sprinkling of fairy dust makes dreams come true.

This enchanting ballet by The Royal Ballet’s Founding Choreographer Frederick Ashton is a theatrical experience for all the family this Christmas.

Stuck at home and put to work by her spoiled Step-Sisters, Cinderella’s life is dreary and dull. Everything changes when she helps a mysterious woman out... 

With a little bit of magic, she is transported into an ethereal new world – one where fairies bring the gifts of the seasons, where pumpkins turn into carriages, and where true love awaits.

In 1939, Frederick Ashton first began to consider creating a full-length work, the Company's first three-act ballet. At the time, it seemed like the obvious next step for British ballet. The idea was shelved during the war but in 1946, Ashton returned urgently to it. Inspired by other balletic adaptations of Cinderella coming out of Russia, Ashton chose to create his own version of Charles Perrault’s famous rags-to-riches story. Set to Prokofiev’s exquisite score, the ballet received its premiere in 1948, featuring Moira Shearer and Michael Somes in the lead roles. 

The designs of this production of Cinderella are heavily influenced by nature and flowers. As the Fairy Godmother and the Seasons’ fairies come into Cinderella’s world, the muted tones of the family living room are taken over by a burst of colour. The creative team behind the exquisite world of Cinderella includes set designer Tom Pye (My Neighbour Totoro, Olivier award for Best Set Design), costume designer Alexandra Byrne (Elizabeth: The Golden Age, Academy Award for Best Costume Design), lighting designer David Finn (Brokeback Mountain), video designer Finn Ross (Les Miserables, Frozen) and illusions by Chris Fisher (Harry Potter and The Cursed Child)

A co-production between The Royal Ballet and National Ballet of Canada

This version of the Cinderella ballet, using Sergei Prokofiev's Cinderella music and re-choreographed by Frederick Ashton, is a comic ballet.

Ashton's Cinderella is his own realized dream of a Petipa ballet and the ballet itself enacts the realization of dreams, notably Cinderella's own. When we first see her she is a demi-character dancer dreaming of being a ballerina—that seems to be the balletic point of her solo with the broomstick in the kitchen—and it is as a ballerina that she magically enters the ballroom, stepping en pointe down the stairs and advancing in pas de bourree to the front of the stage. Back in the kitchen, she recalls the slipper (or rather the pointe shoe) that she carries in her apron; the shoe is the clue to her dream and persuades her it was true. The Prince finds Cinderella, but in his arms, she discovers her own identity as a ballerina and her dream of herself has been realized. Cinderella's mice design the gown.

The choreography of Cinderella is full of dreams, some most definitely unfulfilled. In the ballroom, the put-upon, shy Ugly Sister—significantly Ashton's own role—performs a Petipa figure that amounts to her dream of being Odile at Siegfried's ball or the Sugar Plum Fairy. She is in fact full of choreographic dreams, and that is the clue to her character (as is the fact that she has Edith Sitwell's nose). Again in the ballroom, the bossy Ugly Sister does a fish-dive with her suitor, a dream of the final pas de deux in The Sleeping Beauty.

Premiere of this production: 21 November 1945, Bolshoi Theatre, Moscow

Cinderella is a ballet composed by Sergei Prokofiev to a scenario by Nikolai Volkov. It is one of his most popular and melodious compositions and has inspired a great many choreographers since its inception.


Act I

Cinderella, a young woman whose domineering step-mother forces her to act as a servant in her own home, helps her step-mother and two step-sisters to prepare for the Spring Ball, at which it is rumoured that the Prince will choose his bride-to-be. As the two step-sisters work together to produce a new shawl, they get into an argument over who will wear it, and end up tearing it in two through their bickering. The pair storm off, while the step-mother orders Cinderella to clear up the remnants and finish her chores, as her father returns home from business. Since her father's remarriage, Cinderella has had to sleep by the kitchen fireplace, leaving her nothing to wear but rags covered in ashes. Her father has never moved past the grief of his first wife's death, and though he is concerned for his daughter, he is just as much under the step-mother's control as Cinderella herself is. Their brief peace is interrupted, however, as the mother and sisters reenter and begin ordering them about. During supper, a beggar woman turns up, asking for shelter. The sisters and mother try to chase her off, but Cinderella offers her a place by the kitchen fire and an old pair of slippers. The beggar thanks her for her kindness and departs, leaving the preparations for the ball to resume. After choosing dresses and a quick dancing lesson, the family finally sets off for the night with the father reluctantly in tow, leaving Cinderella behind.

Although lonely at first, she cheers herself up by dancing with her broom, imagining the Prince himself has asked her for a dance. She is surprised, however, when the beggar woman appears out of nowhere, wishing to return the slippers with her thanks. To Cinderella's amazement, the shoes have been transformed into dancing slippers of glass. The beggar woman throws off her disguise and reveals herself as Cinderella's fairy godmother, come to grant her wish of going to the ball. Summoning the fairies of Spring, Summer, Autumn and Winter for assistance, she turns Cinderella's rags into a beautiful dress, a pumpkin and mice into a carriage and horses, and grasshoppers and dragonflies into a retinue of footmen. As she is about to leave, however, the fairy godmother warns her that the magic will only last until midnight, at which time the spell will break, and everything will revert to its original form. Only the glass slippers will remain as a gift for her kindness. She then summons twelve dwarfs, who will appear to repeat her message if she has not left by midnight. With this warning in mind, Cinderella departs for the ball.

Act II

The Spring Ball is in full swing, with guests arriving from all over the kingdom and beyond to dance and pay respect to the Prince. The two step-sisters attempt to win favour with the royal court by showing off their dancing skills, but have less than successful results, much to their mother's dismay. The Prince then joins the celebrations, but finding state events such as the Spring Ball dull, and being reluctant to enter a marriage without love, he declines any offers for a dance, particularly in the case of the obnoxious step-sisters.

At this point, Cinderella arrives at the palace, transformed beyond recognition into a beautifully dressed princess. The Prince, along with everyone else, is entranced by her beauty and charm, and for the first time, he asks for a dance. As the evening passes, the two become inseparable; Cinderella quickly becomes beloved by the entire court for her graciousness and charm, while the Prince is unusually enthusiastic and cheery in her company. When refreshments are served, he gives her the honour of taking one of three oranges, a delicacy imported to the kingdom from a far-off land. Cinderella offers the other two oranges to her step-sisters, who are so flattered by the attention that they do not recognize the beautiful stranger as their sister. The Prince takes Cinderella out to the royal gardens for an evening walk, where they dance and proclaim the love blossoming between them.

As they return to the ballroom for the next waltz, Cinderella has completely forgotten about the time in her happiness. However, at the first stroke of midnight, the twelve dwarfs spring from the great palace clock and remind Cinderella of her godmother's warning. Terrified of being unmasked as a lowly servant in rags, she flees from the ballroom to the astonishment of the other guests. Though the Prince pursues her, she vanishes into the night moments before the spell breaks, losing one of her glass slippers in her haste and panic. The Prince is heartbroken at the thought of losing his love so soon after discovering her, but upon finding the lost slipper, he vows not to rest until he is once again reunited with her.


The morning after the ball, the Prince summons every shoemaker in the kingdom, in order to find out who the slipper was made for. However, none of them claim to have crafted the shoe, or sold it to anybody recently, and he concludes that the princess must be from a foreign land. His desperate search brings him first to the Mediterranean, then to the Orient, and lands further beyond. After travelling across the world and meeting various beautiful princesses with no success, the Prince begins to search his own kingdom, trying the slipper on every maiden who attended the ball.

Back at Cinderella's home, love has allowed the Prince to defy the laws of time and space; though she is only awakening the morning after the ball, he has already traveled the world and back again in search of his lost love. Upon waking, Cinderella initially believes that the events of the previous night were only a dream. As she relives some of the dances of the ball, she discovers the remaining glass slipper and realizes that it was all true. At breakfast, the step-sisters reminisce about the ball, and argue about who made the greater impression on the Prince at the ball. Their fighting is interrupted when the father and step-mother hurry in with the news that the Prince is on his way to their house, desperately trying a glass slipper on every girl he encounters. Upon his arrival, he tries the slipper on the two step-sisters, to no avail. The step-mother, however, demands to be given a chance and tries to force her foot into the shoe, ordering Cinderella to help her. As she bends down to assist, the remaining slipper falls from her pocket and the Prince finally recognizes Cinderella for who she is. As Cinderella successfully tries on both glass slippers, her step-family beg for her forgiveness, which she happily bestows upon them. Overjoyed to have rediscovered each other, Cinderella and the Prince are then transported away to a secret garden by the fairy godmother, where they confess their love for one another and are happily married.

Venue Info

Royal Opera House (Covent Garden) - London
Location   Bow St, Covent Garden

The Royal Opera House (ROH) is an opera house and major performing arts venue in London and Great Britain. It is the home of The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House.

The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House. Originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later, Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.

The current building is the third theatre on the site following disastrous fires in 1808 and 1856. The façade, foyer, and auditorium date from 1858, but almost every other element of the present complex dates from an extensive reconstruction in the 1990s. The main auditorium seats 2,256 people, making it the third largest in London, and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high. The main auditorium is a Grade I listed building.

The Royal Opera, under the direction of Antonio Pappano, is one of the world’s leading opera companies. Based in the iconic Covent Garden theatre, it is renowned both for its outstanding performances of traditional opera and for commissioning new works by today’s leading opera composers, such as Harrison Birtwistle, Mark-Anthony Turnage and Thomas Adès.

The Royal Ballet is one of the world’s greatest ballet companies. Under the directorship of Kevin O’Hare, the Company unites tradition and innovation in world-class performances at our Covent Garden home.

The Company’s extensive repertory embraces 19th-century classics, the singular legacy of works by Founder Choreographer Frederick Ashton and Principal Choreographer Kenneth MacMillan and a compelling new canon by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon.

The Orchestra performs in concerts of their own, including performances at the Royal Opera House with Antonio Pappano. They have also performed at venues worldwide including Symphony Hall (Birmingham), Cadogan Hall, the Vienna Konzerthaus and on tour with The Royal Opera.

Members of the Orchestra play an active role in events across the Royal Opera House, including working with the Learning and Participation teams. The Orchestra accompanies performances that are streamed all over the world, including through cinema screenings and broadcasts. They appear on many CDs and DVDs including Pappano’s acclaimed studio recording of Tristan und Isolde with Plácido Domingo and Nina Stemme.

The Orchestra of the Royal Opera House was founded in 1946 when the Royal Opera House reopened after World War II.

Important Info
Type: Ballet
City: London, Great Britain
Starts at: 19:30
Acts: 3
Intervals: 2
Duration: 2h 45min
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