Cendrillon

A fairy godmother magically turns Cinderella's rags to a beautiful dress, and a pumpkin into a coach. Cinderella goes to the ball, where she meets the Prince - but will she remember to leave before the magic runs out? Méliès based the art direction on engravings by Gustave Doré. First known example of a fairy-tale adapted to film, and the first film to use dissolves to go from one scene to another.

It's Julie's birthday but she seems to be the only one who remembers... Until Marco, the man she secretly loves, calls her and tells her he's going to drop off her son because the babysitter had a setback. Julie is devastated, everyone considers her to be a maid. Alone with this particularly obnoxious little boy, Julie decides to tell him the story of Cinderella... well, almost.

Sergei Prokofiev's setting of the fairy tale "Cinderella" premiered at Moscow's Bolshoi Theater in 1945. In 1986, Rudolf Nureyev, then ballet director of the Paris Opera, choreographed the ballet anew and transposed the story into a private cinema, with sets reminiscent of Fritz Lang's "Metropolis." ARTE shows the Paris Opera performance from December 31, 2018.

Cinderella is transformed for a night at the royal ball, but finds herself battling a band of gorilla pirates who have kidnapped Prince Vladimir and the Duchess. Will she have time to save the day and fall in love before the clock strikes twelve?

Massenet composed his opera about Cenerentola nearly 80 years after Rossini did his. And if you are looking for the outburst of the non-stop hilarity and the musical jokes of Rossini, you won't find it here. Also, while the Cendrillon was highly successful and popular in its time, it does not reach up to the artistic and musical levels offered by Massenet's other operas, like Manon, or Thais or Werther. Nevertheless, this is a delightful opera and it is well presented by The Royal Opera. Laurent Pelly created a ingenious setting with movable walls which are covered [in French] with the story of Cinderella, and which open and close book-like.

The 2017–18 Live in HD season concluded with an enchanted performance of Cendrillon, Massenet’s glittering operatic adaptation of the Cinderella story. This charming staging by Laurent Pelly, which bursts to life with the director’s characteristic wit and whimsy, stars American mezzo-soprano Joyce DiDonato as the title outcast-turned-princess. Mezzo-soprano Alice Coote offers a touching portrayal of the pants role Prince Charming, while soprano Kathleen Kim shines as the Fairy Godmother. Mezzo-soprano Stephanie Blythe, as the outlandish Madame de la Haltière, and bass-baritone Laurent Naouri, as the haggard Pandolfe, round out the principal cast. On the podium, conductor Bertrand de Billy leads a performance that is equal parts madcap comedy and heartfelt romance.

This is a compact telling of the Cinderella fairy tale and the film is elaborately staged.

Based on Sébastien Japrisot's novel, the story revolves around a young girl who suffers from amnesia after surviving a terrible fire.

A removals company discovers a room full of curiosities among them a book of Cendrillon. What better way for a group of friends to pass the time than to perform this famous fairy tale about Cinderella and the glass slipper? Pauline Viardot’s comic opera in three tableaux from 1904 is seeped in joie de vivre, reflecting the influences of her entourage. As a singer and composer, Viardot was at the heart of artistic life in Paris in the second half of the 19th century, and counted George Sand, Chopin, Gounod, Berlioz, Donizetti among her friends and admirers.

With its combination of enchanting love story and broad, burlesque comedy, Cendrillon is one of the great operatic fairy tales a Cinderella that looks back to Charles Perraults original story in all its richness and ambiguity. Massenets sensuous Belle Epoque fairy tale is gilded with lavish orchestral textures and glittering vocal writing, drawing on everything from baroque dances to Wagner-inspired chromaticism to bring its story to colourful life, conjuring a world of infinite musical and emotional variety.

is a musical comedy directly inspired by the eponymous tale, directed by Agnès Boury at the Mogador theater in Paris, from 2009 to 2013.

Georges Méliès's first attempt at Cinderella was in 1899. That film was extraordinary then for having multiple scenes and a semblance of a narrative; additionally, the use of dissolves as transitions in it influenced other filmmakers for years to do the same. Méliès was the cinema world's preeminent leader then. By 1912, however, that was no longer the case; frankly, as evidenced by this feature, his style had become dated. Moreover, Méliès had begun to adopt techniques from other filmmakers, such as direct cuts instead of dissolves, and there's even a match on action shot during the slipper trying-on scene.

A young woman enters her new apartment. Her husband will come to join her in a few days. The apartment, very dirty, is located between a cemetery and a hospital. She undertakes a major cleaning. The more she cleans, the dirtier she gets. Objects resist and revolt.