The commission for Cinderella came from the Kirov Ballet in 1940, soon after their production of Romeo and Juliet. In the early part of 1941 Prokofiev was absorbed in the composition of the new ballet, which he explained should be as danceable as possible, conceived in the traditions of the classical ballet, with pas de deux, variations and waltzes. The German invasion of the Soviet Union in June diverted his attention to the composition of an opera based on Tolstoy's War and Peace, and Cinderella was not finished until 1944. It was first staged at the Bolshoy Theatre in Moscow on 21st November 1945. Several months later Prokofiev arranged three orchestral suites from the ballet, basing them largely on the pieces transcribed for solo piano, Opus 95 and Opus 97. He explained that the suites were not simply mechanical excerpts from the original score but had been reworked and recast in symphonic form. Although the basic ideas remain the same, there are changes in orchestration and subtle variations in tempi, with fragmentary ideas from the score condensed into short movements of melodic and virtuosic ingenuity. Suite No.1 opens with an Introduction that presents two of the themes directly associated with Cinderella, the first sad in character and the second suggesting her dreams of happiness. In the Pas de chale and Quarrel the Ugly Sisters are embroidering a shawl for the ball at the Prince's palace. The dance turns into a squabble, as they quarrel as to who should wear it. The Winter Fairy, who completes Cinderella' s transformation, is heard before the Fairy Godmother, whose magic changes Cinderella into a beautiful princess. The Mazurka precedes the entry of the Prince at the grand ball in the palace, while Cinderella goes to the ball finds her about to leave for the palace, warned by her Fairy Godmother of the one condition she must remember. Cinderella's Waltz lea