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Royal Opera House

  • Music
  • Covent Garden
  • Recommended
  1. Theatre stalls - © Andrew Brackenbury / Time Out
    Theatre stalls - © Andrew Brackenbury / Time Out
  2. Backstage at the ROH - © Rob Greig
    Backstage at the ROH - © Rob Greig
  3. Baroque performance - © Belinda Lawley / Time Out
    Baroque performance - © Belinda Lawley / Time Out
  4. Stage view - © Belinda Lawley / Time Out
    Stage view - © Belinda Lawley / Time Out
  5. Wayne McGregor in rehearsal - © Ed Marshall
    Wayne McGregor in rehearsal - © Ed Marshall
  6. Backstage at the ROH - © Rob Greig
    Backstage at the ROH - © Rob Greig
  7. Backstage at the ROH - © Rob Greig
    Backstage at the ROH - © Rob Greig
  8. Ornate Architecture - © Andrew Brackenbury / Time Out
    Ornate Architecture - © Andrew Brackenbury / Time Out
  9. Bridge of Aspirations - © Britta Jaschinski/Time Out
    Bridge of Aspirations - © Britta Jaschinski/Time Out
  10. © Michael Franke
    © Michael Franke
  11. Exterior - © Susie Rea / Time Out
    Exterior - © Susie Rea / Time Out
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Time Out says

This world class opera house is one of Covent Garden's most famous landmarks

The Royal Opera House is secure in its status as one of the world's great opera houses, pulling in crowds and plaudits while, a few streets away, the London Coliseum's footing is a bit less secure. It's benefited from a massively ambitious 1999 refurb, which extended and opened out its premises to include the restored Floral Hall (an elegant Victorian iron and glass structure) and a new studio space, the Linbury. Subsequent updates have turned the front of house areas around its massive auditorium into gleaming white, luxurious restaurants and bars where opera buffs and balletomanes alike can scoff a cucumber sandwich or two. 

There's been a theatre on the ROH's current site since 1728, when audiences flocked to Covent Garden to hear new works by Handel. The current Royal Opera House is its third incarnation; it opened in 1858, with an imposing NeoClassical facade that mimicked the design of its predecessors. Its horseshoe-shaped, 2,256-seater auditorium is one of the West End's largest, and offers a traditional, imposing setting for both operas and ballet spectacles (although the sightlines from the cheap gallery seats might leave you admiring the dance's legs and not much more).

As well as housing The Royal Ballet, the ROH regularly invites visiting companies such as The Bolshoi. Meanwhile the venue’s smaller spaces – Linbury Studio Theatre and Clore Studio – offer a sporadic line-up of experimental and independent dance and music works.

The Royal Opera House is a Grade I-listed building, and with its beautiful modern additions it is a striking Covent Garden landmark. Book in advance for a behind-the-scenes tour, or just drop in for a visit: the foyer spaces, café, restaurant and bar are open to the public every day from 10am.

Details

Address:
Bow St
London
WC2E 9DD
Transport:
Tube: Covent Garden
Opening hours:
Check website for show times
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What’s on

Swan Lake

  • 3 out of 5 stars
  • Ballet

Everyone knows the story of ‘Swan Lake’. A princess turned into a swan, a wicked sorcerer, a chiselled prince coming to save her. It’s a wonder that the ancient story, and ancient 1877 choreography by Marius Petipa, is still beguiling audiences. But just like the most classic of fairy tales, the tale of the cursed princess remains a gesamtkunstwerk that will definitely pull on your heartstrings.  In a production first staged in 2018, ‘Swan Lake’ at the Royal Opera House is very much a trad ballet. It’s got all the things you’d expect – beautiful, featherlight swans moving in mesmerising unison, grand sets (designed by John Macfarlane), lavish costumes (a personal favourite was the Queen’s glittering black Victorian ball gown with an enormous bustle), and a bombastic Tchaikovsky score. Apart from an altered ending, there’s not much about this production by Liam Scarlett that shocks or surprises. Everything is neatly shaped to fit into the package that is ‘the ballet’. It’s still beautiful and satisfying to watch, but not particularly mind blowing.  In Act I the corps moves with military precision, with formations creating wonderful symmetry as the ballerinas swung their legs like pendulums. Then in the enchanted forest we meet Mayara Magri as Odette, who portrayed her with both a treacly sadness and light skittishness – not an easy combination to nail. Marcelino Sambé’s Prince Siegfried was a dependable partner, while also performing some seriously impressive jetés and pirouet

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