Royal Swedish Opera tickets 3 January 2025 - Cinderella | GoComGo.com

Cinderella

Royal Swedish Opera, Stockholm, Sweden
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7 PM
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US$ 81

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: Stockholm, Sweden
Starts at: 19:00
Intervals: 1
Duration: 2h

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).

Cast
Performers
Conductor: Ewa Strusinska
Ballet company: Royal Swedish Ballet
Orchestra: Royal Swedish Orchestra
Creators
Composer: Sergei Prokofiev
Choreographer: Tamara Rojo
Librettist: Nikolai Volkov
Overview

Classic family ballet goes contemporary in Cinderella.

A new interpretation of Cinderella created by Tamara Rojo, head of the San Francisco Ballet, for the Royal Swedish Ballet. Colourful costumes by Christina Lacroix and Sergei Prokofiev’s iconic music make for a spectacular family evening. "Costumes galore when Lacroix dresses Cinderella for the ball" wrote SvD.

Cinderella is washed up on shore and taken to an orphanage in Stockholm, where she ends up at the bottom of the pecking order. She is stopped from participating in a dance contest, because her style of dancing is too bold and explosive, but her friends come to her aid.

History
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.

Synopsis

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.

Act III

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 Swedish Opera - Stockholm
Location   Gustav Adolfs torg 2

Royal Swedish Opera is Sweden's major national stage for opera and ballet. Famous singers who have been part of the opera's ensemble have included Jussi Björling, Gösta Winbergh, Nicolai Gedda, Peter Mattei, Jenny Lind, Birgit Nilsson, Elisabeth Söderström, Fritz Arlberg, Anne Sofie von Otter, Katarina Dalayman and Nina Stemme.

The orchestra of the Royal Swedish Opera, the Royal Swedish Orchestra, Kungliga Hovkapellet, dates back to 1526. Royal housekeeping accounts from 1526 mention twelve musicians including wind players and a timpanist but no string players. Consequently, the Royal Swedish Orchestra is one of the oldest orchestras in Europe.

Armas Järnefelt was on the music staff from 1905, rising to become chief conductor between 1923–1933 and 1938–1946. The Royal Swedish Ballet, Kungliga Baletten, was founded by Gustav III of Sweden in 1773.

The building is located in the center of Sweden's capital Stockholm in the borough of Norrmalm, on the eastern side of Gustav Adolfs torg across from the former Arvfurstens Palats, now Ministry for Foreign Affairs. It lies on the north side of the Norrström river and is connected to the Royal Palace through the Norrbro bridge.

The opera company was founded by King Gustav III and its first performance, Thetis and Phelée with Carl Stenborg and Elisabeth Olin, was given on January 18, 1773; this was the first native speaking opera performed in Sweden.

But the first opera house was not opened until 1782 and served for a century before being replaced at the end of the 19th century. Both houses are officially called the "Royal Opera", however the terms "The Gustavian Opera" and "The Oscarian Opera", or the "Old" and "New" Opera are used when distinction is needed.

The Gustavian Opera
The original Stockholm Opera House, the work of architect Carl Fredrik Adelcrantz was commissioned by King Gustav III, a strong adherent of the ideal of an enlightened absolutism and as such was a great patron of the arts. The Swedish Opera company had first been located in Bollhuset, but there was a need to separate the Opera from the theatre and give them separate buildings. Construction began in 1775 and the theatre was inaugurated on 30 September 1782 with a performance of the German composer Johann Gottlieb Naumann's Cora och Alonzo. It was also the place for public masquerade balls, events inspired from the famous opera-balls in Paris, which was open for everyone wearing a mask at a cheap cost and somewhat ill-reputed.

The building was very imposing with its centre Corinthian tetrastyle portico supporting four statues and topped by the royal crown. The four-tiered auditorium was oval in shape, had excellent acoustics and sight lines. The sumptuous foyer contained neoclassic medallions and pilasters.

It was in the foyer of the opera house where the king met his fate: during a masquerade on March 16, 1792, he was shot by Jacob Johan Anckarström, and died 7 days later. (In turn, this event inspired the operas Gustave III by Daniel Auber and Un ballo in maschera by Verdi.) Following the assassination, the opera house was closed until 1 November 1792, when it was opened again, which by some was considered shocking. The son of Gustav III, King Gustav IV Adolf of Sweden, did not like the Opera, possibly because of the murder of his father, and disliked the fact that the scene of his father's murder was used as a place of amusement and leisure, and when a frivolous play was performed for his queen Frederica of Baden in 1806, he decided to close it down. It remained closed until 1809, and when the king was deposed, it took until May 1812, before it was organised enough to be fully opened again.

The Oscarian Opera, Operan

The old opera was demolished in 1892 to give way to the construction of a new Opera drawn by Axel Johan Anderberg, which was finished seven years later and inaugurated by King Oscar II with a production of a Swedish opera (that tradition having been quite firmly established during the 19th century), Franz Berwald's Estrella de Soria.

The new house had the letters Kungl. Teatern, literally "Royal Theatre" (which caused the later-founded Royal Dramatic Theatre to add the distinction "dramatic" to its name). The building is now simply called Operan ("The Opera"), written in golden letters above the middle arch on the front facade. It is a majestic neo-classical building with a magnificent gold foyer (Guldfoajén) and elegant marble grand staircase leading to a three-tiered auditorium somewhat smaller than the old theatre. It presently seats 1,200. Most productions are now sung in the original language (with Swedish subtitles), with only a few in Swedish.

The Royal Swedish Family of King Carl XVI Gustaf keeps the Royal Box reserved, located in the first tier in the auditorium above the orchestra pit.

The current general manager of the Royal Swedish Opera is the Swedish mezzo-soprano Birgitta Svendén. In November 2011, the Dutch conductor Lawrence Renes was named the next chief conductor of the company, as of the 2012–13 season, with an initial contract through the 2016–17 season.

Important Info
Type: Ballet
City: Stockholm, Sweden
Starts at: 19:00
Intervals: 1
Duration: 2h
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