RALEIGH - Robert Weiss has created many enduring works with Carolina Ballet in its eight seasons. His new "Cinderella" goes right to the top of the list.

It has all the elements for popular success -- classic story, colorful scenery, dazzling costumes, attractive music, humor and romance. But its artistic achievement sets it apart: choreography fitted perfectly to each moment and each dancer.

The familiar tale of the serving girl who ends up a princess is a natural for the ballet. Instead of the traditional Prokofiev score, Weiss started fresh with new music for solo piano from Karl Moraski, who supplied a richly romantic and elegant score.

Weiss' charged response to it is evident, giving the piece unifying delicacy and magic, yet also great energy and warmth. Many versions of "Cinderella" cast men as the stepsisters and include mice or other animals. Weiss uses none of these devices, choosing instead to concentrate on the human relationships. Throughout, he injects humor that is never pandering or obvious but natural to the situation. Best of all, the 90-minute work (two acts with intermission) appeals equally to children and adults.

Lilyan Vigo is the perfect Cinderella, expressing wistful loneliness by the fireplace to wide-eyed wonder at the Fairy Godmother's magic and tender affection for Prince Charming, ideally embodied by Timour Bourtasenkov. Their pas de deux at the ball is one of Weiss' most breathtaking and heartfelt. The role of the prince's brother, the Grand Duke, equals that of the prince, with extroverted leaps and turns as he humorously vies for the ladies' attentions. Cyrille de la Barre is consummate in his dancing and acting of the role.

Melissa Podcasy's Fairy Godmother is ethereal and wise, her airy pas de trois with cavaliers Attila Bongar and Wei Ni another highlight. The men have their own bravura section, each displaying great physical prowess and control in difficult combinations. Heather Eberhardt and Caitlin Mundth give the stepsisters individual character without excessive exaggeration and are impressive in their showy ballroom dances. Weiss gives other soloists the spotlight as each presents Cinderella a part of her costume for the ball, and he cleverly works in 12 young dancers as hours of a clock.

Ross Kolman deftly lights Jeff A.R. Jones' lovely scenic designs and David Heuval's sumptuous costumes. The starlit realm for the Fairy Godmother is especially enchanting.

In an embarrassment of riches, the program also includes "The Ugly Duckling," Lynne Taylor-Corbett's 45-minute delight, first seen in 2003. The piece is theatrical and funny for the kids and has enough dance to satisfy adults. The cast, headed by the endearing Lara O'Brien, fills it with enthusiasm and vivid character. But it makes the evening too long for its youngest attendees, the very audience such a program is obviously devised for.

This glorious new "Cinderella" can stand on its own and should figure in Carolina Ballet's future seasons often.