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The Royal Opera 2010/11 Season
Così fan tutte
10 | 13 | 15 | 17 | 19 mat | 22 | 24 September
A Mozart masterpiece and a perennial audience favourite. A fine cast under conductor Thomas Hengelbrock perform a score of great charm and depth. Jonathan Miller’s now-classic staging updates the action to today to bring out the darker message beneath the witty surface of the story’s experiment in love and loyalty.
Don Pasquale
12 | 14 | 16 | 18 | 20 | 21 September
Domestic comedy in a doll’s house setting: Donizetti’s gloriously tuneful opera returns in Jonathan Miller’s lively production. Charles Mackerras is the conductor who opens the run and the fine international cast includes the Royal Opera debut of Íride Martínez as Norina. While elderly Don Pasquale intends to marry the young Norina, she has other ideas – and they include the lucky Ernesto.
Niobe, regina di Tebe
23 | 25 | 27 | 29 September
1 | 3 mat October
A very special event: the first performances in the UK of Steffani’s Baroque opera neglected for 320 years until presented at the Schwetzingen Festival in 2008. Conductor Thomas Hengelbrock with director Lukas Hemleb present that production with The Royal Opera to reveal the skill and extraordinary imagination of its Baroque master composer. Niobe – played by Véronique Gens – boasts to the gods and is punished with the death of all her children and her transformation to a stone statue condemned to weep for eternity.
Les Pêcheurs de perles – In Concert
4 | 7 October
Bizet’s score of exoticism and orchestral colour presented in concert by a notable musical ensemble: Antonio Pappano conducts, with Nicole Cabell, John Osborn (in his Royal Opera debut), Gerald Finley and Raymond Aceto. The opera has not been heard at Covent Garden since 1920, so these two concert performances – especially with the exceptionally fine playing of the Orchestra of the Royal Opera House – are especially welcome.
Rigoletto
11 | 14 | 16 | 19 | 21 | 23 | 27 | 30 mat October
2 | 4 | 6 November
Violence and corruption at the 16th-century court in Mantua: one of Verdi’s most popular operas returns in David McVicar’s engrossing production. Famous melodies and vivid characters distinguish an opera that begins with a curse and ends with the deadly consequences of mistaken identity. Leading the fine international cast are Wookyung Kim as the playboy Duke, Paolo Gavanelli/Dmitri Hvorostovsky as the bitter jester Rigoletto and Eglise Gutiérrez as his deceived and ill-used daughter Gilda.
Roméo et Juliette
26 | 29 October
1 | 5 | 8 | 11 | 13 | 17 November
Gounod’s grand opera on Shakespeare’s famous romance returns. As the lovers, the acclaimed tenor Piotr Bezcala plays opposite Nino Machaldze /Maria Alejandres. Nicholas Joël’s rich period production is matched to a great score of melody and range – a treat in the French operatic repertory, especially as here under conductor Daniel Oren.
Hänsel und Gretel
23 | 28 mat | 29 mat | 31 mat December
1 | 3 | 4 | 7 January
A fairytale story, familiar characters and tuneful music have made this a great family piece for Christmas. The Royal Opera’s production by Moshe Leiser and Patrice Caurier has some scary moments for the youngest family members – after all, there is a witch who cooks children! But the production is delightful to watch, with plenty of magic moments on the journey through the woods to its happy ending.
Adriana Lecouvreur
18 | 22 | 25 | 27 | 30 November
4 | 7 | 10 December
One of the major highlights of the whole Season. Angela Gheorghiu in the title role plays opposite Jonas Kaufmann. Mark Elder conducts this richly melodic and colourful score by Puccini’s contemporary Francesco Cilea. A new production by David McVicar brings wonderfully to life the 18th-century world of the real actress Adriana Lecouvreur in period designs of intricate detail.
Tannhäuser
11 | 15 | 19 mat | 22 | 27 | 30 December
2 mat January
Not seen at the Royal Opera House since 1987, Wagner’s opera receives a new production by Tim Albery with great Wagnerian singers under conductor Semyon Bychkov. Johan Botha plays the minstrel torn between the spiritual and the sensual, as embodied by Eva-Maria Westbroek as Elisabeth and Michaela Schuster as Venus. Tannhäuser is typical of Wagner’s ever-satisfying mix of high drama, melodic sweep and wonderful orchestral colour.
Il barbiere di Siviglia
18 | 21 | 24 | 26 | 29 | 31 January
2 | 5 | 8 February
A young international cast head a revival of Rossini’s classic comedy. Moshe Leiser and Patrice Caurier’s characteristically witty and acutely observed production has Aleksandra Kurzak as the trapped Rosina scheming to be free from her dominating guardian. Rossini’s typical melodiousness, joie de vivre – and plenty of vocal fireworks – make this opera a delight every time.
Die Zauberflöte
1 | 3 | 7 | 9 | 11 | 16 | 19 | 22 | 24 February
Mozart at his most engaging and profound: a great work with famous music and rich characterization conducted here by Colin Davis, one of the greatest of Mozart interpreters, and David Syrus. Joseph Kaiser, Kate Royal and Christopher Maltman head a strong cast in a revival of David McVicar’s popular production, with glorious designs by John Macfarlane.
Anna Nicole
17 | 21 | 23 | 26 February
1 | 4 March
A world premiere on the fascinating subject of Anna Nicole Smith. A model for Playboy, marriage to an octogenarian billionaire, scandal, legal battles and early death – this is the real-life story that has inspired Mark-Anthony Turnage’s new opera. Inevitably adult themes, strong language and sexually explicit content are part of this exciting work. Richard Jones directs this major new opera, with Antonio Pappano conducting a cast that has Eva-Maria Westbroek in the title role.
Aida
11 | 14 | 19 | 22 | 26 | 30 March
2 | 6 | 10 | 13 | 15 April
Star casting in great roles for great singers in a distinguished revival. Verdi’s melodious and haunting score is matched to an intense production, new only in April 2010. David McVicar’s staging evokes an ancient civilization bound up in ritual and violence to throw into relief the opera’s conflict and tension of a private love that challenges state power and loyalty.
Fidelio
29 March
1 | 5 | 9 | 11 | 16 April
Nina Stemme and Endrik Wottrich play Leonore and Florestan in Beethoven’s operatic masterpiece. It returns in Jürgen Flimm’s appropriately hard-edged production that emphasizes all the more the uplifting themes of heroism and freedom. Kirill Petrenko conducts a score at once deeply challenging and full of intensity and beauty.
The Tsar’s Bride
14 | 18 | 20 | 23 | 27 | 29 April
2 May
A new production of Rimsky-Korsakov’s historical opera and also a Royal Opera House premiere for the work. It is directed by Paul Curran, conducted by Mark Elder and has a superbly appropriate international cast that includes Marina Poplavskaya, Ekaterina Gubanova, Dmitry Popov, Paata Burchuladze and Alexander Vinogradov. The music is intensely dramatic to match the story of Ivan the Terrible and the madness and sinister death of his third wife, Marfa.
Werther
5 | 8 mat | 11 | 14 | 17 | 21 May
Rolando Villazón in the title role opposite Sophie Koch as Charlotte in this first revival of Benoit Jacquot’s poignant production of Massenet’s opera. Antonio Pappano conducts a rich and fluid score that combines passion and delicacy with Goethe’s moving story of a lovestruck poet doomed to die young.
Macbeth
24 | 27 | 30 May
3 | 6 | 10 | 13 | 15 | 18 June
Verdi meets Shakespeare in wonderfully musical and dramatic form, conducted by Antonio Pappano. Simon Keenlyside and Martina Serafin play the scheming and murderous husband and wife in a revival of Phyllida Lloyd’s dark and enticing production.
Tosca
7 | 11 | 14 | 17 | 20 | 23 | 28 | 30 June
14 | 17 July
Star casting for one of the favourites of all operas: Angela Gheorghiu, Karita Mattila and Martina Serafin; Marcello Giordani and Jonas Kaufmann; and Juha Uusitalo and Bryn Terfel. They share the roles of the intense triangle of the diva Tosca, her lover Cavaradossi and their nemesis Scarpia. Antonio Pappano and Paul Wynne Griffiths conduct for Jonathan Kent’s popular production with its rich designs of Rome in 1800.
Peter Grimes
21 | 24 | 27 June
1 | 3 mat July
Britten’s great and tragic opera of isolation and persecution revived in Willy Decker’s intense and focussed staging. Ben Heppner returns in the title role, for which he is internationally admired, and Andrew Davis conducts. A powerful score matched to a powerful story, this is a 20th-century masterpiece.
Madama Butterfly
25 | 29 June
2 | 4 | 8 mat | 12 | 15 | 16 July
Haunting, poignant and tragic: Puccini’s Madama Butterfly is always opera at its most moving. This revival of Moshe Leiser and Patrice Caurier’s production evokes with great beauty 19th-century Japan. A stunning cast – including Patricia Racette and James Valenti – under conductor Andris Nelsons bring some of Puccini’s most radiant and overwhelming music to glorious life.
Cendrillon
5 | 7 | 9 | 11 | 13 | 16 mat July
The first ever performances of Massenet’s ‘Cinderella’ opera at the Royal Opera House in a production by director Laurent Pelly (La Fille du régiment, L’elisir d’amore and Manon). French music specialist Bertrand de Billy conducts a wonderful cast with Joyce DiDonato as Cinderella and Alice Coote as her Prince Charming. This is an enchanting conclusion for the Royal Opera Season.
The Royal Ballet 2010/11 Season
Onegin
30 September
2 | 5 | 6 | 8 | 9 | 12 | 13 | 20 | 25 October
John Cranko’s interpretation of Yevgeny Onegin, Pushkin’s classic novel of unrequited love. Great story telling, passion and lyricism to a wonderful score specially created from music by Tchaikovsky. Period designs evoke all the variety and colour of Imperial Russia – the perfect setting in which to follow the blossoming of Tatiana and the plunge into despair of Onegin.
La Valse / New Brandstrup / Winter Dreams / Theme and Variations
15 | 16 mat | 18 | 22 | 28 | 30 October
A mixed programme of wonderful contrasts: the swirling movement of Ashton’s La Valse; a new work by Kim Brandstrup; MacMillan’s Winter Dreams, a powerful distillation of Chekhov’s Three Sisters; and Balanchine’s dazzling tribute to the Russian classics.
Sylvia
3 | 6 mat | 9 | 10 | 12 | 15 | 19 | 26 November
1 December
Ashton’s full-length Sylvia takes Greek myth for its story and Delibes’ engaging score for its music. Beautiful classically inspired designs by Robin and Christopher Ironside set the scene. This has been a wonderful addition to The Royal Ballet since its restoration to full glory in 2004.
Cinderella
20 | 24 November
2 | 3 | 9 | 13 | 17 | 21 | 28 | 29 December
7 | 10 mat | 12 | 13 mat | 16 mat | 19 | 23 mat | 25 mat and eve | 30 April
6 May
An Ashton classic and a Royal Ballet favourite. Prokofiev’s lyrical and atmospheric music is paired with choreography in turns touching and funny. While there is the radiant young Cinderella and her Prince Charming, there is also the pointed comedy of the Step-Sisters and such delights as the dances of the Seasons.
Peter and the Wolf / Les Patineurs / Tales of Beatrix Potter
Peter and the Wolf / Tales of Beatrix Potter
14 | 16 | 18 mat and eve December
Les Patineurs / Tales of Beatrix Potter
20 | 22 mat | 23 mat | 24 mat | 30 mat December
3 mat | 4 mat | 6 | 8 mat and eve | 10 January
A programme to suit all the family at Christmas. Matthew Hart’s bright and witty Peter and the Wolf (to Prokofiev’s famous music) is presented by The Royal Ballet School for some performances, for others it is The Royal Ballet in Ashton’s classic evocation of skating, Les Patineurs. All performances conclude with Ashton’s inventive and amusing Tales of Beatrix Potter, full of such familiar characters as Jeremy Fisher, Jemima Puddle-Duck and – inevitably – Peter Rabbit.
Giselle
11 | 12 | 13 | 14 | 15 | 17 | 19 | 20 January
4 | 5 mat | 18 | 19 mat February
Enchanted and enchanting, the epitome of the Romantic ballet. Petipa’s choreography is full of lightness, and the floating and gliding of the other-worldly Wilis brings a quality all its own. Peter Wright’s very popular production keeps true to the Romantic heart and unique style of Giselle.
Swan Lake
22 mat and eve January
10 | 14 | 25 February
7 | 8 | 12 | 18 mat and eve | 21 | 25 | 31 March
4 | 8 April
One of the defining works of all ballet. Love, power, good and evil are wonderfully conveyed through Petipa’s choreography, and Tchaikovsky’s music is one of the greatest of all ballet scores. The Fabergé-inspired designs of Anthony Dowell’s sumptuous production provide a perfect setting for the star ballet roles of Odette/Odile and Prince Siegfried.
Alice’s Adventures in Wonderland
28 February
2 | 3 | 9 | 10 | 15 March
Lewis Carroll’s eternally appealing story as a new full-length ballet by Christopher Wheeldon. The completely new musical score is by Joby Talbot, and there are striking designs by Bob Crowley. For this major event of the whole Season, Royal Ballet dancers will bring to life such familiar favourites as the Knave of Hearts, the Mad Hatter, the Red Queen and Alice herself.
Rhapsody / Sensorium / The Rite of Spring
16 | 17 | 19 | 23 | 24 | 28 March
A mixed programme of brilliance, subtlety and energy. Ashton’s Rhapsody is a tribute to virtuosity in sound and choreography. Alastair Marriott’s Sensorium has its first revival, bringing the atmospheric and lyrical to the stage to match Debussy’s music. The third work is MacMillan’s visceral Rite of Spring, this time with a male sacrifice at the centre of its powerful vision.
Manon
21 | 28 April
3 | 4 | 7 mat and eve | 9 | 10 | 12 | 23 | 26 | 31 May
1 | 4 mat and eve June
Kenneth MacMillan’s famous full-length ballet on a classic story of doomed love. The roles of Manon and her lover Des Grieux combine ballet artistry, dramatic character and powerful emotions. A wonderful score from music by Massenet and a colourful portrayal of 18th-century life – from aristocrats to harlots – complete this favourite of 20th-century ballet worldwide.
Ballo della Regina / New McGregor / DGV
13 | 14 mat | 16 | 19 | 20 | 25 May
A programme of skill, precision and sheer artistry. Ballo della Regina brings Balanchine’s dazzling work using Verdi’s music to the UK for the first time. Wayne McGregor creates a new work for The Royal Ballet with his characteristic creative collaborations and choreographic intensity. Christopher Wheeldon’s DGV: Danse à grande vitesse concludes the programme with driving energy.
Scènes de ballet / Voluntaries / ‘Still Life’ at the Penguin Café
28 mat and eve May
2 | 8 | 9 | 11 June
Ashton’s elegant and sophisticated Scènes de ballet opens the final programme of the Season. Next is Glen Tetley’s Voluntaries, a moving and uplifting work to music by Poulenc. After nearly two decades absence from the Royal Ballet repertory, David Bintley’s ever-popular ‘Still Life’ at the Penguin Café brings a host of endangered species in their natural habitats to stage with quirky, joyful and ultimately moving dances.
The Royal Opera House is an opera house and major performing arts venue in the London district of Covent Garden. The large building, often referred to as simply Covent Garden, is the home of The Royal Opera, The Royal Ballet and the Orchestra of the Royal Opera House. Royal opera House tickets are one of the hardest tickets to obtain when sold out.
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