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Commissioned by the Mariinsky in 2002, Cinderella was the production that launched choreographer Alexei Ratmansky onto the world stage. Filmed in 2013 and now released on DVD and Blu-ray for the first time, the production stars one of the foremost prima ballerinas in the world today; Diana Vishneva. Recently described by The Telegraph as being 'as close to physical and technical perfection as it is possible to be,' Vishneva delivers a dazzling performance, and is conducted by leading Prokofiev interpreter, Valery Gergiev. Ratmansky is the world's most influential ballet-maker, credited with revitalizing classical dance through a series of highly individual productions. He breathes new life into Prokofiev's ballet, weaving together an array of different styles and echoing the complexities of the composer's score. The set, beautifully designed by Ilya Utkin and Yeveny Monakhov, transports us to the 20th century and this is reflected in the choreography's contemporary edge, which goes from lively court dances to a stunning pas de deux between Cinderella and her prince. What results is a fresh and modern account of the classic fairytale, with stunning performances from both the Mariinsky dancers and Mariinsky Orchestra. Review ------ "...The audience on Oct. 1 at Zellerbach Hall - where Cinderella, kicking off the Cal Performances dance season, played through Sunday afternoon - loved it..." "...The dancing was sublime, led in the title role on opening night by Diana Vishneva, she of the long arms and legs, the melting extensions and thrilling spins, the charming, wide-eyed evocation of joy or sorrow, the inborn musicality..." "...The stage is filled with motion, with unison, with energy, and as with more recent Ratmansky ballets, the audience is swirled into the scene. In the pit, the Mariinsky Ballet Orchestra, impeccably conducted Thursday by Gavriel Heine, made the score sound bright and new..." --Janice Berman, sfcv.org, October 5, 2015 "Still, the third act, which is generally the weakest in "Cinderella" productions, shows glimmers of the mature Ratmansky. The choreographer uses an unusually complete edition of the Prokofiev score (I haven't heard some of it live in ages), and he finally fuses wit and sentiment in his search for the glass slipper. The reunion of Cinderella and prince in T-shirt on a tenement balcony beautifully references "Romeo and Juliet." And in the final duet, sentiment wins out in a melting encounter..." "...All went extremely well Thursday in the pit, where American-born Gavriel Heine conducted the 64 members of the Mariinsky Orchestra in a large-scale, effortlessly brooding performance of the Prokofiev score, finding and sustaining the music's pensive lyricism. It doesn't get any better." --Allan Ulrich, The San Francisco Chronicle, October 2, 2015 "...But I note Gavriel Heine led the Mariinsky Orchestra through Prokofiev's 1945 score, and their exuberant rendition made the entire evening worthwhile..." "...For her part, Vishneva was as lyrical as ever in a role that was created on her, but she came alive only when Konstantin Zverev's prince arrived midway through Act II. It was a long time to wait for the show to get started, but eureka! Suddenly we understood what all the fuss was about. Cinderella's unfolding elegance and the prince's down-to-earth dash met in the middle, and it mattered little that their dancing was a grand pas post-classique when actionwas badly needed. Zverev's clarity and ballon, paired with Vishneva's liquid strength, infused purpose into every phrase and energized the ballet through to the final curtain..." --Claudia Bauer, Dancetabs.com, October 3, 2015