Royal Opera House

Raised by a scheming dwarf and unaware of his true family origins, a young man embarks on an epic journey.

Set in the Royal India of the past, La Bayadère is a story of eternal love, mystery, fate, vengeance, and justice. The ballet relates the drama of a temple dancer (bayadère), Nikiya, who is loved by Solor, a noble warrior. She is also loved by the High Brahmin, but does not love him in return, as she does Solor.

Coppélia, a mechanical doll made by the toy-maker Dr. Coppelius, is so life-like that some believe she is his daughter. The mistake leads to intrigue and jealousy in love. Directed by Ross MacGibbon, with Leanne Benjamin and Carlos Acosta.

Most opera houses ring in the New Year with Johann Strauss Jr.'s most popular operetta--the festiveness of which is appropriate for the occasion--and this December 31, 1983, Covent Garden performance follows suit. An exceptional cast--led by Hermann Prey and Kiri Te Kanawa as the couple whose marriage survives the comic indiscretions of three long acts--obviously has as much fun as the audience. Plácido Domingo leads the Orchestra of the Royal Opera House through its paces with panache. Prince Orlofsky's Act II party is always a splendid opportunity to pull out all the stops with surprise "guests," and this performance makes the most of its chance: entering the proceedings to sing one of his tailor-made chansons, "She," is French crooner Charles Aznavour, who is followed by dancers Merle Park and Wayne Eagling, their delightful pas de deux flashily choreographed by Sir Frederick Ashton.

When a precious hoard of gold is stolen from the river Rhine, it unleashes a chain of destructive events, pitting gods and mortals against one another for generations. Wagner’s Ring cycle boasts some of the greatest music ever written for the opera stage. Join us as we embark on a spectacular journey into the world of myth, dream and memory, with the figure of Erda – Mother Earth herself – at its centre.

Perfomance 24.06.2014 in ROH. In June 2014, London’s Royal Opera House presented Jonathan Kent’s new production of Manon Lescaut. With a stellar cast, including Kristīne Opolais and Jonas Kaufmann in the roles of the young lovers Manon Lescaut and Chevalier des Grieux, Jonathan Kent brings this 19th century classic to a 2014 setting, both non-naturalistic and theatrical. Supporting the action on stage is the Orchestra and Chorus of the Royal Opera House, Covent Garden, with their venerable Music Director Antonio Pappano.

A classic returns to the Royal Ballet repertory with Ninette de Valois’ charming and funny Coppélia– a story of love, mischief and mechanical dolls. The intricate choreography is set to Delibes’ delightful score and shows off the technical precision and comedic timing of the whole Company. Osbert Lancaster’s designs bring a colourful storybook world to life in this Christmas treat for the whole family.

The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret – and after a statue comes miraculously to life – the ending is one of forgiveness and reconciliation. Wheeldon continues his highly successful collaboration with designer Bob Crowley and composer Joby Talbot, the team behind Alice, in one of the highlights of The Royal Ballet Season.

Tita, who lives on a ranch in Mexico, falls in love with a boy, Pedro, who lives nearby; but when they want to get married, Tita's family prevents it, because she must remain single to take care of her mother.

From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage.

Il tabarro is a tale of jealousy and murder between Michele, his young wife Giorgetta and her lover Luigi, set aboard a barge on the Seine. Suor Angelica tells the story of the nun Angelica’s familial loss, sacrifice and suicide. Gianni Schicchi is an opera full of trickery, greed and romance as a family dispute breaks out over a missing will. The Olivier-nominated Royal Opera production featuring a trio of one-act Puccini operas was first performed together on the same bill at Covent Garden in September 2011, and was acclaimed by the Telegraph as "an operatic treat... three hours of gorgeous music that allows big voices to let emotion rip" and by the Evening Standard as "a triumphant vindication of the social awareness and dramatic power of Puccini's triptych". The trio of operas offers a panorama of emotions, with the dark and foreboding Il tabarro and comic Gianni Schicchi bookending a heart-wrenching Suor Angelica.

Massenet composed his opera about Cenerentola nearly 80 years after Rossini did his. And if you are looking for the outburst of the non-stop hilarity and the musical jokes of Rossini, you won't find it here. Also, while the Cendrillon was highly successful and popular in its time, it does not reach up to the artistic and musical levels offered by Massenet's other operas, like Manon, or Thais or Werther. Nevertheless, this is a delightful opera and it is well presented by The Royal Opera. Laurent Pelly created a ingenious setting with movable walls which are covered [in French] with the story of Cinderella, and which open and close book-like.

The Royal Ballet presents Russian classical ballet, full of sparkle and precise technique, packed into only 40 minutes. Originally a triple bill with Concerto and Enigma Variations, now released separately.

Prince Siegfried is celebrating his coming of age. The Queen Mother informs him that, the following day, during the grand ball held to mark his birthday, he must choose a future wife. Displeased at not being able to choose her out of love, he goes into the forest during the night. It is then that he spots a flock of swans. He raises his crossbow, prepares to shoot, but stops immediately: before him stands a beautiful woman dressed in white swan feathers, followed by twelve other women dressed in the same way, four of whom are known as the ‘little swans’. ‘Swan Lake’ is a ballet by Pyotr Ilyich Tchaikovsky, comprising 4 acts and 4 scenes, or 3 acts and 4 scenes. The staging is based on a libretto by Vladimir Begichev and Vasili Geltser. The story is an ancient German legend recounting the tale of the beautiful Princess Odette, transformed into a swan by the curse of the evil sorcerer Rothbart. Recorded live at the Royal Opera House, Covent Garden, on 17 March 2015.

On a stormy night, fate brings two strangers together, unleashing a love that has the power to destroy entire worlds. Meanwhile, in the realm of the gods, an epic battle erupts between the ruler Wotan and his rebellious daughter Brünnhilde.

Clara is given an enchanted Nutcracker doll on Christmas Eve. As midnight strikes, she creeps downstairs to find a magical adventure awaiting her and her Nutcracker. The magician Drosselmeyer transforms the drawing room into a battle between mice and toy soldiers. During the battle, Clara saves the Nutcracker’s life – so breaking a magical spell that turned him from a boy to a toy – and the Mouse King is defeated. In celebration, Drosselmeyer sweeps Clara and the Nutcracker off to the Kingdom of Sweets, where they meet the Sugar Plum Fairy and take part in a wonderful display of dances. The next morning, Clara’s adventures seem to have been more than just a dream.

At a garden party on a sunny afternoon, Alice is surprised to see her parents’ friend Lewis Carroll transform into a white rabbit. When she follows him down a rabbit hole events become curiouser and curiouser.

David McVicar’s powerful Royal Opera House 2008 production of Strauss's opera – based on a play by Oscar Wilde – takes the controversial and disturbing film 120 Days of Sodom as its visual reference. The action is set in a debauched palace, which has suggestions of Nazi Germany. Strauss’s ravishing and voluptuous score adds to the sexual alchemy that is conjured by an international cast led by Nadja Michael in the title role.

A full-length ballet created by choreographer Christopher Wheeldon for the Royal Ballet at the Royal Opera House, Covent Garden. The ballet is based on Lewis Carroll's famous story of Alice, an ordinary girl who one summer afternoon falls down a rabbit hole and finds herself on an extraordinary adventure. The music is by Joby Talbot, with designs by the internationally acclaimed Bob Crowley. Alice is danced by the Royal Ballet's Lauren Cuthbertson, and actor Simon Russell-Beale plays the cameo role of the Duchess.

Manon’s brother Lescaut is offering her to the highest bidder when she meets Des Grieux and falls in love. They elope to Paris, but when Monsieur G.M. offers Manon a life of luxury as his mistress she can’t resist.