Cinderella is probably the most popular and best-known fairytale of all time. The story is simple and compelling - a beautiful but mistreated girl longs for a better life and dreams of being whisked away by her Prince Charming. And of course in fairytales dreams really do come true - even if it is with a little help from a magical fairy godmother.

This timeless tale has been told the world over and, for some, it is just as relevant today. Just look at footballers wives, girlfriends and all those wannabe WAGs waiting for a prince of the pitch to spirit them away to their own personal paradise.

The earliest version of the Cinderella story is said to be from China - where a small foot was a sign of great beauty in a woman. From those humble beginnings she has gained worldwide status; in France she is Cendrillon, in Italy Cenerentola, Germany Aschenbrödel, and Russia Zolushka. Her story has been immortalised in literature, film, ballet, opera and of course panto!

Although the basis for the story is the same - the universal dream of being saved from a life of servitude - there are differences in each telling of the tale (some more gruesome than others).

The Brothers Grimm had the ugly sisters hacking off parts of their feet in a desperate attempt to squeeze them into the lost shoe, and rather than begging forgiveness for their wicked ways their eyes are pecked out by birds!

But the best-known version of Cinderella, and the one which forms the basis of Rossini's opera, was written by Charles Perrault in 1697.

It was, in fact, Perrault who first used the glass slipper. It has been suggested that this came about because Perrault confused "vair" (French for "fur") with "verre" (French for "glass").

There are other departures from tradition in the opera, which the WNO is staging in collaboration with Barcelona's Comediants. Composed by Rossini and with text (libretto) by Giacomo Ferretti, it was written in Italy at a time when the Papal government discouraged the representation of supernatural matters on stage. So, out went the fairy godmother, transforming pumpkins, and any other magical interventions.

But never fear, as the supernatural and magic exits stage left, so enters that favourite theatrical devise - disguise!

For a while Cinderella's famous shoe was itself a casualty of the Papal authorities who felt that showing a naked foot on stage was thoroughly indecent.

To preserve the lead soprano's modesty and reputation Cinderella was given a lady-like pair of matching bracelets.

The Comediants have ensured the magic has been brought back into Rossini's opera building on their expertise at staging magnificent spectacles such as the closing ceremony of the Barcelona Olympics.

With brightly coloured sets inspired by pop up story books, equally brightly coloured wigs and costumes and comedy capers aplenty this is every bit the magical fairy tale.

Welsh National Opera's Cinderella plays the Southampton, Mayflower Theatre Thursday and Saturday.