Royal Opera House

The Royal Opera House is an opera house and major performing arts venue in the London district of Covent Garden. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The Royal Ballet and the Orchestra of the Royal Opera House. Originally called the Theatre Royal, it served primarily a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.

The current building is the third theatre on the site following disastrous fires in 1808 and 1857. The façade, foyer and auditorium date from 1858, but almost every other element of the present complex dates from an extensive reconstruction in the 1990s. The Royal Opera House seats 2,268 people and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high.

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Cosi fan tutti

Nowadays Così Fan Tutte is a work that can be considered as part of the main repertoire, although it does not enjoy the popularity of other Mozart operas, like Don Giovanni, Nozze di Figaro or Zauberflöte. Nevertheless, in Bilbao Così Fan Tutte is not particularly popular and has been staged there by ABAO on only on one occasion some 10 years ago. The only other performance in Bilbao was by an opera company from Eastern Europe touring Spain almost 15 years earlier.

Last time we had artists such as Barbara Frittoli and José Bros, and here the main interest was based on the presence of Soile Isokoski, and the more than emergent mezzo - soprano Maite Beaumont, in addition to the prestigious orchestra Al Ayre Español with their leader Eduardo Lopez Banzo. Unfortunately, Maite Beaumont cancelled due to apparent health problems, although many rumours were running arounf on the subject of her cancellation. ABAO took the decision to substitute her for her cover, which could have been a more than acceptable solution if it were a cancellation at the eleventh hour, but this was not the case, since the decision was taken not less than 10 days prior to the premiere. When you have to pay over 150 euros for a single ticket, it is not a good policy to substitute a well known singer for an understudy, even one who has been singing comprimario roles (Priestess in the last Aida) for many years. Some readers may remember what Peter Gelb did in New York in October, when Joseph Kaiser cancelled Romeo just one day before the performance. Instead of taking the cover (Raúl Melo) he had Marcello Giordani step in the role. I think that there is a big difference in the way of solving cancellations between New York and Bilbao and how both managements decided to protect the interest of their customers. Despina is not very difficult to cast and the general conclusion locally is that ABAO decided to take the easy way out.

Premier Events guarantee the finest seats to the world's most famous Opera Houses and auditoriums, including Covent Garden's Royal Opera House, the magnificent Glyndebourne Festival and The English National Opera at The Coliseum.

For opera-ballet tickets, concert tickets, theatre tickets and exclusive event tickets in the UK and worldwide. Premier Events pledges to provide the cheapest event tickets on the net.No commission, transaction charges or hidden booking fees. By law, we must charge VAT, but the price you see is the price you pay.we ensure their safe and prompt delivery to our customer.

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Simon Boccanegra

With the return of Simon Boccanegra to The Royal Opera, Plácido Domingo makes his Royal Opera baritone debut in one of Verdi’s most demanding and passionate roles. Set against the class driven battle for the control of 14th-century Genoa, the opera sympathetically portrays the embattled Doge of the city as the consequences of his past lead – through an estranged daughter, her competing suitors and a life-long enemy – to his own death. The Music Director of The Royal Opera, Antonio Pappano, conducts a formidable international cast in the 1881 version of the opera, staged in Elijah Moshinsky’s classic production. The tones of fine period painting appropriate to the story create rich stage images, matching the rich orchestral colour of Verdi’s score of melody and atmosphere. Confrontations and curses, public drama and private turmoil – and running through it all is the poignant situation of a father and daughter, long parted yet rediscovering each other when it is too late for anything but tragedy to be the outcome. It all makes for a potent operatic combination of family drama and political intrigue.

Simon Boccanegra - Rehearsal
The Simon Boccanegra Rehearsal is the performance on 26 June.

There has been an unprecedented demand for tickets for performances of Simon Boccanegra and we were unable to allocate seats to all the Friends who tried to book. To ensure that as many Friends as possible are able to see the production, if you have already booked tickets for a performance, you will not be able to book tickets for the rehearsal during Friends’ priority booking.

PERFORMERS

Conductor
Antonio Pappano

Simon Boccanegra
Plácido Domingo

Amelia
Marina Poplavskaya

Fiesco
Ferruccio Furlanetto

Gabriele Adorno
Joseph Calleja

Paolo
Jonathan Summers

For opera-ballet tickets, concert tickets, theatre tickets and exclusive event tickets in the UK and worldwide. Premier Events pledges to provide the cheapest event tickets on the net.No commission, transaction charges or hidden booking fees. By law, we must charge VAT, but the price you see is the price you pay.we ensure their safe and prompt delivery to our customer.

Buy opera ballet tickets with full trust

Simon Boccanegra

With the return of Simon Boccanegra to The Royal Opera, Plácido Domingo makes his Royal Opera baritone debut in one of Verdi’s most demanding and passionate roles. Set against the class driven battle for the control of 14th-century Genoa, the opera sympathetically portrays the embattled Doge of the city as the consequences of his past lead – through an estranged daughter, her competing suitors and a life-long enemy – to his own death. The Music Director of The Royal Opera, Antonio Pappano, conducts a formidable international cast in the 1881 version of the opera, staged in Elijah Moshinsky’s classic production. The tones of fine period painting appropriate to the story create rich stage images, matching the rich orchestral colour of Verdi’s score of melody and atmosphere. Confrontations and curses, public drama and private turmoil – and running through it all is the poignant situation of a father and daughter, long parted yet rediscovering each other when it is too late for anything but tragedy to be the outcome. It all makes for a potent operatic combination of family drama and political intrigue.

Simon Boccanegra - Rehearsal
The Simon Boccanegra Rehearsal is the performance on 26 June.

There has been an unprecedented demand for tickets for performances of Simon Boccanegra and we were unable to allocate seats to all the Friends who tried to book. To ensure that as many Friends as possible are able to see the production, if you have already booked tickets for a performance, you will not be able to book tickets for the rehearsal during Friends’ priority booking.

PERFORMERS

Conductor
Antonio Pappano

Simon Boccanegra
Plácido Domingo

Amelia
Marina Poplavskaya

Fiesco
Ferruccio Furlanetto

Gabriele Adorno
Joseph Calleja

Paolo
Jonathan Summers

For opera-ballet tickets, concert tickets, theatre tickets and exclusive event tickets in the UK and worldwide. Premier Events pledges to provide the cheapest event tickets on the net.No commission, transaction charges or hidden booking fees. By law, we must charge VAT, but the price you see is the price you pay.we ensure their safe and prompt delivery to our customer.

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La Fille du régiment

Laurent Pelly’s fabulously entertaining production of La Fille du règiment was the hottest ticket in town when it was first staged early in 2007. The wonderful combination of great performance, stylish design and irreverently witty production are all ready for this first revival by The Royal Opera, and Bruno Campanella once more conducts Donizetti’s lively and memorable masterpiece to bring out all its undeniable lyrical charm. Many of the original cast return for their roles, so Natalie Dessay will once more be singing fabulous coloratura while ironing the regimental smalls — just one of a host of musical and stage moments from start to finish that has had the audience laughing out loud.

The story has all the elements of comic coincidence and timely discovery as our tomboy heroine is forced into more ladylike circles suitable to her aristocratic birth. But while a judicious society wedding may be the intention of some, this heroine is far too spirited to give in to any wishes but those of her own heart.This is not a revival to miss if you like great singing of virtuosic showpieces, with a star cast and every number beautifully honed to hit its target — sometimes touching, sometimes lyrical, but always a delight. And in this inspired production, it is a truly memorable night of sheer fun with The Royal Opera.

CREDITS

Composer
Gaetano Donizetti

Director
Laurent Pelly

Associate Director
Agathe Mélinand

Dialogue
Agathe Mélinand

Set Designer
Chantal Thomas

Costume designs
Laurent Pelly

Lighting
Joël Adam

Choreography
Laura Scozzi

PERFORMERS

Conductor
Bruno Campanella

Tonio
Juan Diego Flórez
Colin Lee

Marie
Natalie Dessay

Sulpice
Alessandro Corbelli

La Marquise de Berkenfeld
Ann Murray

Hortensius
Donald Maxwell

La Duchesse de Crackentorp
Dawn French

Cinderella-Royal Opera House

The story of Cinderella is one of the best-known fairytales, and Frederick Ashton’s full-length version for The Royal Ballet has all its familiar ingredients. A downtrodden young girl, a glass slipper and a handsome prince combine to make the perfect piece of story-telling, and with a fairy godmother around, anything can happen: pumpkins become coaches, rags turn to ball gowns and there’s bound to be a happy ending. Ashton’s ballet draws together a wealth of wonderfully drawn characters, portrayed against the evocative themes and colours of Prokofiev’s great orchestral score.

This is a mysterious and magical fantasy world, where the comedy of Cinderella’s pantomime step-sisters – unlucky in looks and love – provides the perfect foil for the developing romance of Cinderella and the Prince. Cinderella is a family event full of the magic of not just of the fairy godmother, but of The Royal Ballet too.

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