Come and join us at the Royal Opera House this festive season! Whether it’s for our world-class offering of opera, ballet, music and dance or to explore the extensive gift collection in our Shop, a trip to the Royal Opera House is the perfect treat.
Many of our present ideas last into the New Year, with options including gift certificates, membership or tickets to one of our forthcoming productions.
Η καταξιωμένη οργανίστα του Μεγάρου Ουρανία Γκάσιου σε ένα ρεσιτάλ που αποκαλύπτει την εκφραστική παλέτα του εκκλησιαστικού οργάνου. Μέσα από συνθέσεις του Λιστ, του Μπραμς, του Σούμαν, του Φρανκ, του Μέντελσον και του Σαιν-Σανς, γεμάτες συναίσθημα, φλογερό τόνο, προσδοκία και πάθος, η διεθνώς αναγνωρισμένη μουσικός θα αναδείξει την αθέατη, ρομαντική πλευρά του βασιλιά των μουσικών οργάνων.
- Johannes Brahms: Πρελούδιο και Φούγκα σε σολ ελάσσονα, WoO 10 "O Welt, Ich muss dich lassen", έργο 122, αρ. 3 "Herzlich tut mich verlangen", έργο 122, αρ. 10 - Louis Vierne: Adagio από τη Συμφωνία αρ. 3 Φινάλε από τη Συμφωνία αρ. 1 - Felix Mendelssohn: Πρελούδιο και Φούγκα σε ντο ελάσσονα, έργο 37, αρ. 1 - Camille Saint Saëns: Πρελούδιο και Φούγκα σε σι μείζονα, έργο. 99, αρ. 2 - Robert Schumann: Sketches, έργο 58, αρ. 3 & 4 - César Franck: "Pièce Héroïque" - Franz Liszt: Πρελούδιο και Φούγκα στο όνομα του Βach
Το φετινό διαφημιστικό μας σποτ, δημιουργία του G Design Studio (Μιχάλης Γεωργίου, Δημήτρης Στεφανίδης,Αλέξανδρος Γαβριλάκης) είναι εμπνευσμένο από το κεντρικό σύνθημα της φετινής εκστρατείας προβολής της Ορχήστρας:
«Έχουμε τον τρόπο» που αντανακλά τη φιλοσοφία και τη στόχευση ολόκληρου του φετινού μας προγραμματισμού.
Μουσικά όργανα κατασκευασμένα από διάφορα εγχώρια φρέσκα λαχανικά και φρούτα, ανατρέπουν με χιούμορ τα στερεοτυπα και στέλνουν ένα σαφές μήνυμα: επιθυμία μας είναι η αξιοποίηση των εγχώριων πρώτων υλών, η ανάδειξη και αξιοποίηση δηλαδή του ελληνικού δυναμικού και δη του πιο φρέσκου.
A mixed programme of ballets inspired by science and fairytale, featuring works from two British choreographers closely associated with The Royal Ballet, Wayne McGregor and Alastair Marriott.
Background
Resident Choreographer of The Royal Ballet Wayne McGregor created Raven Girl in 2013. For this dark, modern fairytale he collaborated with Audrey Niffenegger, visual artist and award-winning author of The Time-Traveller’s Wife. Together they tell an unsettling tale that looks back to the fairytale ballets of the past but with a distinctly modern psychological depth and elements of surrealism. Gabriel Yared (The English Patient) provides the score, with immersive video designs by Ravi Deepres, gothic-inspired designs by Vicki Mortimer and atmospheric lighting by Lucy Carter and Simon Bennison.
Alastair Marriott, choreographer and Principal Character Artist of The Royal Ballet, created Connectome in 2014. He took inspiration from neuroscientist Dr Sebastian Seung’s theories on how personality is determined not by genes but by our neural connections – the map of the brain, or ‘connectome’. Marriott tells the story of a lone woman whose identity is shaped by the connections she makes and her interactions with those around her. Set to music by Arvo Pärt and with spectacular designs by Es Devlin and video designer Luke Halls, Connectome is an elegiac work of loss, in which Marriott’s choreographic language of extended classical ballet yields images of astonishing beauty.
Juan Diego Flórez makes his stage role debut in Gluck’s great opera with John Eliot Gardiner and the English Baroque Soloists in a new production directed by Hofesh Shechter and John Fulljames.
The Story
The great musician Orphée mourns the death of his wife Eurydice. Amour, the god of love, tells Orphée that the gods have granted him permission to journey down to Hades. If he can calm the Furies with his music, he may lead Eurydice back to the land of the living – on the condition that he never once look back at her on their journey.
Orphée appeases the Furies with his music, and finds Eurydice in Elysium. He begins to lead her back, but she is distressed by his strange behavior. She faints and Orphée looks back; Eurydice dies in his arms. Amour appears and consoles Orphée. His fidelity now proven, Eurydice may be restored to him. Orphée, Eurydice and Amour celebrate the power of love.
Background
The Italian Orfeo ed Euridice was the first of Gluck’s great ‘reform’ operas. In it, he and his librettist Ranieri de’ Calzabigi sought to move away from the complicated plots and ornate music of opera seria, in favour of a ‘noble simplicity’, where music always drives the story. The opera’s premiere at the Vienna Burgtheater on 5 October 1762 was a great success – so much so that Gluck himself revised the opera for the French premiere at the Paris Opéra on 2 August 1774 as Orphée et Eurydice. It is longer, larger and grander; Gluck extended movements, added new ones and revised the orchestration to suit the forces of the Opéra. He also recast the role of Orpheus from alto castrato to the haute-contre of French opera, a very high tenor. The opera remains Gluck’s most popular work, and a landmark in operatic history.
Orphée et Eurydice includes some of Gluck’s most loved music, from Orphée’s tender ‘Objet de mon amour’ and ‘J’ai perdu mon Eurydice’ to the spectacular ‘L’espoir renaît dans mon âme’, added for the French premiere. The chorus also assumes a role of great importance, particularly in their roles as the shades and Furies of the underworld. But the opera is perhaps most celebrated for its innovative dance music; two of its many highlights include the ‘Dance of the Furies’ and the ‘Dance of the Blessed Spirits’. In this new production for The Royal Opera, acclaimed choreographer Hofesh Shechter, who made his debut with The Royal Ballet in the 2014/15 Season, makes his operatic debut in collaboration with Associate Director of Opera John Fulljames (La donna del lago,Rise and Fall of the City of Mahagonny).
A modern fairytale from Royal Ballet Resident Choreographer Wayne McGregor, in collaboration with award-winning writer Audrey Niffenegger and composer Gabriel Yared. Find out more:http://www.roh.org.uk/productions/rav...
The elegiac Raven Girl (2013) is Royal Ballet Resident Choreographer Wayne McGregor’s seventh work for the main stage at Covent Garden, and his most story-led yet. McGregor collaborated with visual artist and award-winning writer Audrey Niffenegger, author of The Time Traveller’s Wife, to create a fairytale ballet that looked back to classics such as Swan Lake but was told with a distinctly modern sensibility. McGregor explained, ‘I wanted a story that in some way connected with the ballet stories of the past… and that involves something surreal, something that delves into consciousness’. The result is a unique piece of visual theatre. Niffenegger’s accompanying novella with her aquatint illustrations is published by Jonathan Cape.
McGregor approached acclaimed film composer Gabriel Yared (The English Patient, The Talented Mr. Ripley, The Lives of Others) to create the original score. Yared produced a score for orchestra and electronics that McGregor describes as ‘very filmic but [which] gets right inside your body and really helps with the emotional territory of the work’. Ravi Deepres (Quartett) created the immersive video designs.
Raven Girl is being performed as part of a mixed programme, alongside Alastair Marriott’s acclaimed 2014 ballet Connectome.
