Christina Arestis

Tita, qui vit dans un ranch au Mexique, tombe amoureuse d'un garçon, Pedro, qui vit à proximité. Mais lorsqu'ils veulent se marier, la famille de Tita l'en empêche, car elle doit rester célibataire pour s'occuper de sa mère.

Désirs dangereux, secrets de famille et intrigues politiques – une histoire vraie sous forme de ballet.

This classic fairy tale depicts the struggle between good and evil, and love's quest to conquer all. The magic of the lakes, forests and palaces is breathed into life through the splendid setting by John Macfarlane and the perfect score by Tchaikovsky. The Royal Ballet's magnificent production of Swan Lake returns to the stage of the Royal Opera House after its 2020 revival was interrupted by the theater's closure amid the pandemic. This classic of the repertoire is a testament to the late choreographer Liam Scarlett's enduring love of classical music and innate musicality, which are also evident in this productionv

Carlos Acosta's first venture directing one of ballet's 19th century classics was eagerly anticipated, as was his own starring role in the production (as Basilio), opposite the Argentinian Royal Ballet principal Marianella Nuñez (Kitri). Still built on Petipa's original choreography, Acosta's clear dramatic structure and vivid stage action gave the ‘boy gets girl despite her father’ story a more convincing air than usual, with Don Quixote's parallel obsession with Dulcinea-Kitri coherently woven into the plot.

The peasant girl Giselle discovers the true identity of her lover Albrecht – and that he is promised to another. This is one of The Royal Ballet’s most loved and admired productions, faithful to the spirit of the 1841 original yet always fresh at each revival. This performance features former Bolshoi star and now Royal Ballet Principal Natalia Osipova in a breath-taking interpretation of the title role.

The peasant girl Giselle discovers the true identity of her lover Albrecht – and that he is promised to another. Giselle kills herself. Her soul enters the ranks of the Wilis – shades of young women who died before their wedding day. All men that come across their path are compelled to dance themselves to death, and Albrecht falls into their trap. Giselle’s intercession saves Albrecht and releases her soul from the Wilis’ power.

The young Clara creeps downstairs on Christmas Eve to play with her favourite present – a Nutcracker. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure. After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to a wonderful display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?

The young Clara creeps downstairs on Christmas Eve to play with her favourite present – a Nutcracker. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure. After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to a wonderful display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?

Inspired by Mary Shelley’s Gothic masterpiece, Frankenstein is the world premiere of Liam Scarlett’s new full-length ballet. A story of betrayal, curiosity, life, death and, above all, love, exploring the very depths of human nature. Federico Bonelli dances the role of Victor Frankenstein, Laura Morera is his Elizabeth, and Steven McRae is the creature. Koen Kessels conducts Lowell Liebermann’s newly commissioned score in this co-production between The Royal Ballet and San Francisco Ballet.

Given its premiere by The Royal Ballet in 1965 with Rudolf Nureyev and Margot Fonteyn dancing the title roles, Kenneth MacMillan's first full-evening ballet has become a signature work for the Company, enjoying great popularity around the world. From the outset, the production teems with life and colour as the townspeople, market traders and servants of the rival Montagues and Capulets go about their daily business in vibrant crowd scenes. But Romeo and Juliet take centre stage for those great pas de deux: the meeting in the ballroom, the balcony scene, the morning after the wedding and the final devastating tomb scene. Although The Royal Ballet has performed Romeo and Juliet over 400 times, each performance and pairing is subtly different and Lauren Cuthbertson and Federico Bonelli are utterly captivating in the title roles.

Royal Ballet Principal Natalia Osipova dances the title role in Kenneth MacMillan’s haunting ballet, to atmospheric music by Tchaikovsky and Martinů. Anastasia tells the story of Anna Anderson who, following the Russian Revolution and the murder of the royal family, claimed she was the surviving Grand Duchess Anastasia. Many believed her to be an imposter; others hoped she was Anastasia, a remnant of a lost world. A powerful, psychological challenge for the lead dancer, Anastasia explores one of the great historical mysteries of the 20th century, only recently solved, and the distorting mirror of memory, time and place.

The wicked fairy Carabosse is furious she wasn’t invited to Princess Aurora’s christening. She gives the baby a spindle, saying that one day the Princess will prick her finger on it and die. The Lilac Fairy makes her own christening gift a softening of Carabosse’s curse: Aurora will not die, but will fall into a deep sleep, which only a prince’s kiss will break. The masterful 19th-century choreography of Marius Petipa is combined with sections created for The Royal Ballet by Frederick Ashton, Anthony Dowell and Christopher Wheeldon. Recorded live as part of the Royal Opera House Live Cinema Season 2019/20 with encore screenings broadcast online during the #OurHousetoYourHouse programme.

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.

Le triomphe par la ruse d’un amour empêché. Dans une cour de ferme ou un champ de blés, les cœurs de Lise et Colas se cherchent et finissent par se trouver. À la manière d’une comédie musicale, le scénario original été grandement revisité... Enregistré en direct au « Royal Opera House », Covent Garden, Londres, Royaume-Uni, le 2 février 2005.