There is also a wonderful rehearsal – in the Royal Ballet series that Pherank posted from – of Christopher Wheeldon working with dancers on Aeternum. The choreography with James Hay is fantastically clean and so architecturally pure (like the modeling in a Juan Gris painting), while the choreography in the duet between Claire Calvert and Thiago Soares is nicely balanced between two players – for example when the man folds the woman's leg from behind, and then the woman does the same for the man.
Regarding Cinderella as a whole – its outer shape – Robert Johnson in the Star-Ledger thinks that Wheeldon, by not following Prokofiev's scenario and musical cues, fiddled too much with the dramatic arc and left the ballet a little tame. Gone is pressure of the clock bearing down on Cinderella – it seems to be a minor annoyance – and gone are the time dwarfs who warn Cinderella "her charms will not last." Johnson notes that "Prokofiev, who wrote Cinderella in trying circumstances, understood this admonition too well." And Benjamin (whose role seems almost to eclipse that of the Prince) is added at the expense of other characters – of which that of the dancing master is "the greatest loss."
Concluding the ballet with a marriage celebration, Wheeldon tries to jump-start Prokofiev’s understated ending. A thrilling pas de deux would have said much more, while after a whole evening of theatrical fireworks even a royal wedding seems tame.
Maybe with something of the quiet intimacy of the dances posted in the videos above.