WNO001_Brochure 2016-2017_digi_Eng

Transcription

2016/2017 Season
Autumn 2016 Shakespeare400
Macbeth Verdi
The Merchant of Venice André Tchaikowsky
Kiss Me, Kate Cole Porter
Cardiff, Liverpool*, Bristol, Oxford**, Southampton, Birmingham and Llandudno
In association with
Spring 2017 Love’s Poisoned Chalice
La bohème Puccini
Madam Butterfly Puccini
Le Vin herbé Frank Martin
Cardiff, Milton Keynes, Bristol, Llandudno, Plymouth and Southampton
Summer 2017 Vienna Vice
Die Fledermaus Johann Strauss II
Der Rosenkavalier Richard Strauss
Cardiff and Birmingham
Madam Butterfly Puccini
Birmingham
*Kiss Me, Kate only **Macbeth and Kiss Me, Kate only
The Merchant of Venice – Photo: Karl Forster
Registered Charity No 221538
2
Welsh National Opera 2016/17
3
Often, we know where a story is headed.
Sometimes, we can anticipate the very
next word or moment. Maybe it’s an
innate sense of how narratives unfold?
Perhaps, we’ve just seen a story so
many times we know it inside out?
And yet, such is the power of opera,
even a familiar story can still affect us
deeply. Despite our heads telling us
we are watching a staged production,
we are genuinely moved – drawn in
by our own thoughts and feelings.
We feel enriched, changed and inspired.
Whether seeing one of our productions
for the first or hundredth time this season,
whether you know nothing about what
will happen next, or you know every
word; embrace the experience.
The emotions are authentic,
and wonderfully real.
The Merchant of Venice – Photo: Karl Forster
10
Stages
Welcome
Autumn 2016 sees us joining in the massive celebrations for Shakespeare’s
anniversary with three very contrasting works inspired by his inexhaustible
talent: a mainstream Verdian opera (Macbeth), a ‘classic’ musical with more
hit tunes than I can count (Kiss Me, Kate – based on The Taming of the Shrew)
and the British première of a new/old work composed by a man intriguingly
known as ‘Tchaikowsky’ based on that titanic problem play The Merchant
of Venice. If you want to grasp just a fraction of what Shakespeare means
to us culturally in a truly worldwide way, then you must experience all three
works – an Italian, an American and a Pole all worshiping at the shrine of
Shakespeare, and adding the thrill of music to this most humane writer’s works.
Spring 2017 sees us on more traditional ground with revivals of those
exquisite masterpieces La bohème and Madam Butterfly, but with
a really unknown gem thrown into the mixture. Frank Martin’s touching
and eloquent re-telling of the Tristan story, Le Vin herbé, (literally the
spiked drink!) as an act of collective narration creates a wonderful
opportunity for our masterly Chorus once again to take centre stage.
8
Operas
And in the summer we head for one of music’s most seductive
destinations, Vienna, with a celebration of that city’s foot-tapping
musical culture in the form of a new production of Richard Strauss’
sumptuous comedy Der Rosenkavalier alongside the perennially popular
Die Fledermaus. Both works offer beguiling examples of the Viennese
talent for being very naughty and extremely charming at the same time.
These two justly famous operatic scores are the perfect opportunity for our new
Music Director, Tomáš Hanus, to make his operatic debut with the Company,
though fans of our splendid concert series will have been able to discover
this passionately emotional conductor in Autumn 2016 and Spring 2017.
3
Themes
David Pountney
Artistic Director
Photo: Richard Hubert-Smith
5
6
The Guardian
Kiss Me, Kate
Cole Porter
Conductor James Holmes
Director Jo Davies
Set & Costume Designer Colin Richmond
Lighting Designer Ben Cracknell
Choreographer Will Tuckett
Fred Graham / Petruchio Quirijn de Lang
Lilli Vanessi / Katherine Jeni Bern
1st Gunman Joseph Shovelton
2nd Gunman John Savourin
pproximately two
A
hours and 50 minutes
including one interval
Sung
in English
25
ew production –
N
the backstage scenes
are set in the 1940s.
The Taming of the Shrew
scenes are set at the
time of the Renaissance
70
Cole Porter’s comic musical follows
the opening of a musical adaptation of
The Taming of the Shrew as backstage
romances, intrigues and interjections by
gangsters threaten to bring the curtain down.
6
Co-production with Opera North
Music and Lyrics by Cole Porter.
Book by Bella and Samuel Spewack.
Critical Edition by David Charles Abell
and Seann Alderking.
Photo: Alastair Muir, Opera North Cast
Jo Davies’
stylish
production
Will Tuckett’s
sizzling
choreography
The Sunday Express
The Daily Telegraph
There are
over 25 scene
changes
throughout
the show
This production
features over
70 costumes
Like all classic musicals
Kiss Me, Kate has some great
dance moments. The cast
for our production includes
six professional dancers.
For detailed casting and performance
information please go online
wno.org.uk/kissmekate
Share your thoughts
#wnokissmekate
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9
Macbeth
Verdi
Conductor Andriy Yurkevych
Director Oliver Mears
Set & Costume Designer
Annemarie Woods
Lighting Designer Kevin Treacy
Choreographer Anna Morrissey
Video Designer Duncan McLean
Macbeth Luis Cansino
Lady Macbeth
Mary Elizabeth Williams*
/ Miriam Murphy*
Macduff Bruce Sledge
Banquo Miklós Sebestyén
Lady-in-Waiting Miriam Murphy*
pproximately
A
two hours 55
minutes including
one interval
New production
– set in modern
times
Sung
in Italian
with surtitles in
English (and
Welsh in Cardiff
and Llandudno)
Verdi described Shakespeare’s
play as ‘one of mankind’s greatest
creations’ and his adaptation is
fittingly brooding and ferocious.
Co-production with
Northern Ireland Opera
Supported by WNO Partners
‘Mi si affaccia un pugnal?’
‘Is this a dagger I see
before me?’
Macbeth resolves to kill
Duncan.
‘La luce langue’
– a chilling aria.
Lady Macbeth will
stop at nothing…
‘Pietà, rispetto, amore’
Reveals Macbeth’s
detachment from all feeling
The sleepwalking
scene reveals
Lady Macbeth’s
torment.
Act 1
A prophecy sets in motion
a terrible series of events
Act 2
Macbeth is crowned
King and orders
further bloodshed to
secure his position
Act 3
The crown
rests uneasily on
Macbeth’s head
Act 4
Retribution,
revelation and
a new King
Scotland
is liberated.
*For detailed casting and performance
wno.org.uk/macbeth
Share your thoughts
#wnomacbeth
10
The Merchant Of Venice
André Tchaikowsky
UK première
Conductor Lionel Friend
Director Keith Warner
Designer Ashley Martin-Davis
Lighting Designer Davy Cunningham
Movement Director Michael Barry
Associate Director Amy Lane
Shylock Lester Lynch*
/ Quentin Hayes*
Antonio Martin Wölfel
Lorenzo Bruce Sledge
The Duke of Venice Miklós Sebestyén
Bassanio Mark Le Brocq
Solanio Gary Griffiths
Salerio TBA
Gratiano David Stout
Jessica Lauren Michelle
Portia Sarah Castle
Nerissa Verena Gunz
pproximately three
A
hours 10 minutes
ew production – set at
N
the turn of the 19th century
ung in English with
S
surtitles in English
(and Welsh in Cardiff
and Llandudno)
Supported by the Getty Family as part of British Firsts
Co-production with the Bregenzer Festspiele, Austria, the Adam Mickiewicz
Institute as part of the Polska Music programme & Teatr Wielki, Warsaw
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Reflections on The Merchant of Venice:
‘André’s personal life story is a dramatic
prelude to his choice of Shakespeare’s play.
As Andrej Krauthammer he was, aged, 5,
taken into the Warsaw ghetto with his entire
family. His grandmother smuggled him out
as André Tchaikovsky – taking the name
of her favourite composer. Grandson and
Grandmother survived on the run in Warsaw
for 3 years. And at the end of his short life,
his magnum opus would be an opera about
hatred of Jews.’
David Pountney Artistic Director
‘Whereas the play has been seen by
some to have prejudice in it, even to be
anti-Semitic, the opera is clearly about
prejudice. It’s about why it occurs and how
it gets passed down to people and infects
whole societies... The great thing about this
project is we’re dealing with a libretto based
on Shakespeare and some very classy,
modern, yet easily approachable, music’
Keith Warner Director
‘It’s a challenging piece to play but there is
some really beautiful music. It’s interesting
that there are quotations from Fidelio,
there’s a part that sounds like Finzi and
some of the music sounds Elizabethan.
An interesting feature is that there are
discernible dance forms throughout, for
example there is a gigue in the middle’
James Southall WNO Music Staff
*For detailed casting and
performance information
please go online
wno.org.uk/venice
Share your thoughts
#wnovenice
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13
La bohème
Puccini
Conductor Manlio Benzi
Director Annabel Arden
Designer Stephen Brimson Lewis
Lighting Designer Tim Mitchell
Video Designer Nina Dunn for Knifedge
Choreographer Philippe Giraudeau
Mimì Marina Costa-Jackson*
Rodolfo Dominick Chenes*
/ Matteo Lippi*
Marcello Gary Griffiths
Musetta Lauren Fagan
Colline TBA
Schaunard Gareth Brynmor John
Approximately two hours
10 minutes including one interval
Sung
in Italian with surtitles in English
(and Welsh in Cardiff and Llandudno)
Revival – set in 1913
*For detailed casting and
please go online
wno.org.uk/boheme
Share your thoughts
#wnoboheme
Deputy Stage Manager Katie Heath-Jones
looked after the props when this production
was first performed in 2012. Here, she looks back
at her notebook to reveal some of the detail behind
the production:
Setting
I really liked the setting which was
1913 just before the First World War.
Inspiration Apparently the designer took inspiration
from real life characters that were in
Paris at the time including Gertrude
Stein and Houdini and some of our
chorus feature as them in Act Two.
Art created Marcello is revealed doing a charcoal
on set
portrait of Musetta. The designer
Stephen Brimson Lewis actually drew
it himself and we still have the original.
Act Two featured a lot of fun moments.
Most
memorable Most notably WNO Chorus member
Michael Clifton-Thompson dressed up
moment
as a monkey when he performed the
role of Parpignol. One time he ran
off stage and picked me up in
a scene reminiscent of King Kong.
Video
Photo: Robert Workman , WNO Cast 2012
Another thing I like about this production
is the use of video – Act Two ends in
triumphant fireworks and Act Three
starts with a flurry of projected snow
which when added over the top of
our fake snow really makes you feel
like you are out there in the cold.
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Madam Butterfly
Puccini
We asked WNO Company Members to talk about why they believe this opera
and this production in particular have such enduring appeal:
Conductor Lawrence Foster*
/ James Southall*
Director Joachim Herz
Revival Director Caroline Chaney
Designer Reinhart Zimmermann
Costume Designer Eleonore Kleiber
Original Lighting Designer John Waterhouse
Sharon Hunt
Receptionist
Cio-Cio-San
Meeta Raval*
/ Linda Richardson*
Pinkerton
Jonathan Burton*
/ Paul Charles Clarke*
/ Stephen Rooke*
Sharpless David Kempster
Suzuki Rebecca Afonwy-Jones
Supported by WNO Friends
What I like most about
our production is the
authentic Japanese
setting touched with
sepia tone and dusted
with cherry blossom.
It’s a heartbreaking
love story, we see her
being abandoned and
then Pinkerton takes her
child away from her at
the end. It pulls on your
emotional heartstrings!
My favourite moment is
The Humming Chorus –
the rising and falling of
the vocal lines. Without
even a word being sung
it conveys so much!
Ruth Evans
Youth & Community
Producer
15
Prof. Herz, the director,
as everybody who has
seen it knows, set the
whole production in
sepia, which gives it
great atmosphere.’
Ian Douglas
Company Manager
It has the perfect
combination of beautiful
music and a tragic
story, not to mention
Puccini’s uncanny
ability to transport
you to Japan, via the
luscious sound-world
of Italian opera, with a
brief musical cameo
from the American
national anthem!
Not only is the opera
incredibly moving, it
also explores issues
surrounding cultural
exploitation that are
just as relevant today
as it was when it was
first performed.
Sophie Rashbrook
Nicholas John Dramaturg
pproximately two
A
hours 45 minutes
evival – set in
R
1890s Nagasaki.
Sung
in Italian with
(and Welsh in Cardiff
and Llandudno)
*For detailed casting
and performance
information please
go online
wno.org.uk/butterfly
Share your thoughts
#wnobutterfly
16
Le Vin herbé
Frank Martin
17
We asked some
WNO audience
members to listen
to a recording and
let us know what
they thought:
Conductor Alexander Martin
Director Polly Graham
Designer April Dalton
Tristan TBA
Isolde Jurgita Adamonyte·
‘I really enjoyed the first
listen, I must say –
I didn’t know what to
expect, I hadn’t heard
of it before...I really felt
drawn into it. Yes, it is
modern, but not overly
so – it’s accessible,
easy to listen to...
It reminds me of early
‘church’ music – and
not in a bad way.’
Ann Bryan
Approximately one hour
35 minutes with no interval
New production –
set in the present day
Sung
in English with surtitles
in English (and Welsh in
Cardiff and Llandudno)
Alongside the very familiar La bohème
and Madam Butterfly, we’re also offering
something off the beaten track. Many operagoers will be familiar with Wagner’s Tristan
und Isolde but Frank Martin’s intimate opera
offers a very different take on the legend.
Tristan and Isolde are enemies brought
together when they mistakenly drink a love
potion. Their affair inevitably leads to tragedy.
The words really
matter in this tale.
Lynne Plummer
wno.org.uk/vinherbe
Share your thoughts
#wnovinherbe
Modern
Hysteria
‘This re-telling of the
story of Tristan and Isolde
is obviously far sparer
than that by Wagner –
less hysterical and more
poignant because
of that. It would, I think,
be entirely accessible
to new listeners.’
Lynne Plummer
Traditional
Poignancy
Accessible to new listeners
18
Der Rosenkavalier
Richard Strauss
Conductor Tomáš Hanus
Director Olivia Fuchs
Designer Niki Turner
The Marschallin Rebecca Evans
Baron Ochs of Lerchenau
Brindley Sherratt
Octavian Lucia Cervoni
Sophie Louise Alder
Von Faninal Adrian Clarke
Italian Singer Paul Charles Clarke
Annina Madeleine Shaw
pproximately four hours
A
including two intervals
New production – set in 1911
Sung
in German
with surtitles in English
(and Welsh in Cardiff)
19
Here, Rebecca Evans and the
production’s Director Olivia Fuchs
share their thoughts on tackling
this audience favourite:
‘Sensuous, erotic and passionate –
we are plunged into 1911 Vienna,
the end of an era where time is
running out, slipping through
fingers like sand in an hourglass.
Time is experienced in all its
complexity, enfolding different
historical eras, measured
mechanically and expressed
through memory and imagination,
exploring its essential transience.’
Olivia Fuchs
‘I am hugely looking forward to
pursuing Richard Strauss’ love affair
with the Soprano voice from the more
mature perspective of The Marschallin.
Whilst delicately mourning the loss
of her youth and the inconstancy of
men she remains full of grace, passion
and generosity – truly a character to
be relished and treasured.’
Rebecca Evans
This new production of Der Rosenkavalier,
sees Tomáš Hanus conduct some of his first
performances as our new Music Director and
Rebecca Evans makes her debut in the iconic
role of The Marschallin.
Co-production with Theater Magdeburg
Photo: Nilz Böhme for Theater Magdeburg
wno.org.uk/rosenkavalier
Share your thoughts
#wnorosenkavalier
20
21
Die Fledermaus
Johann Strauss ll
Conductor Tomáš Hanus
Director John Copley
Set Designer Tim Reed
Costume Designer Deirdre Clancy
Lighting Designer Howard Harrison
Choreographer Stuart Hopps
Most talked about
item on set
The banners are
made of blue velvet
with a two headed
eagle-crest referencing
Prince Orlofsky’s Russian
background. It took two
prop makers several
weeks to create.
Rosalinde Mary Elizabeth Williams
Eisenstein Mark Stone
Falke Ben McAteer
Adele Rhian Lois
Orlofsky Justina Gringyte
Alfred Paul Charles Clarke
pproximately two
A
hours 55 minutes
including two intervals
How was the gold
appliqué produced?
The prop makers
started by drawing the
full designs, before
beginning the appliqué
(all by hand, obviously).
ung in English with
S
(and Welsh in Cardiff)
evival – set in early
R
1900s Vienna.
Some time ago, Gabriel von Eisenstein went with
his friend Dr Falke to a fancy dress party.
On their way back, Eisenstein left Falke on his own, sleeping
peacefully. When he awoke it was daylight and he had to make his
way home dressed in his bat’s costume, accompanied by all the
jeering urchins in town. He has never forgotten this humiliation.
Life-affirming nonsense, as opulent as a Viennese cake.
Chock-full of splendour, posh frocks, masks and warm comedy.
It’s a lavish and detailed production.
Supported by WNO Idloes Owen Society
Photo: Clive Barda
For detailed casting and
please go online
wno.org.uk/fledermaus
Share your thoughts
#wnofledermaus
Season at
a glance
2016/2017
Die Fledermaus – Photo: Clive Barda
24
On Sale Dates
2016/2017
Season at a glance
Autumn 2016
Cardiff
September
14 MarchPriority Subscriptions booking opens for WNO Friends and Partners
(phone and online only)
21 March
General Subscriptions open (phone and online only)
29 MarchPriority individual opera booking opens for WNO Friends and Partners
(phone and online only)
4 April
General individual opera booking opens (online, phone and in person)
Birmingham, Bristol, Liverpool, Llandudno, Milton Keynes, Oxford, Plymouth
and Southampton
29 March
4 April
Priority booking opens for WNO Friends and Partners
General booking opens
Booking and pricing information
birminghamhippodrome.com
0844 338 5000**
atgtickets.com/bristol
0844 871 3012*
Additional Info
25
Date
Opera
Time
Venue
10 Sat
Macbeth
7.15pm
6.15pm
Wales Millennium Centre, Cardiff
15 Thu
Macbeth
7.15pm
6.15pm
16 Fri
The Merchant of Venice
7pm
6pm
17 Sat
Macbeth
7.15pm
6.15pm
24 Sat
Macbeth
7.15pm
6.15pm
29 Thu
Kiss Me, Kate
7.30pm
30 Fri
7pm
6pm
wmc.org.uk
029 2063 6464
Free
Pre-performance Talks.
atgtickets.com/liverpool
0844 871 3017*
venuecymru.co.uk
01492 872000
atgtickets.com/miltonkeynes
0844 871 7652*
atgtickets.com/oxford
0844 871 3020*
theatreroyal.com
01752 267222
mayflower.org.uk
02380 711811
Southampton
**Calls cost 4.5p per minute *Calls cost 7p per minute, plus your phone company’s access charge
Audio Described
performances with
free Touch Tour prior
to performance.
Tickets for
free Pre-performance Talks
and Touch Tours can be
booked at the same time
you book your tickets.
26
Season at a glance
Autumn 2016
Season at a glance
Autumn 2016
October
November
Date
Opera
Time
1 Sat
Kiss Me, Kate
2 Sun
Additional Info
27
Venue
Date
Opera
Time
Additional Info
7.30pm
1 Tue
7pm
5.45pm
Mayflower Theatre, Southampton
Kiss Me, Kate
4pm
2 Wed
Macbeth
7.15pm
5.45pm
5 Wed
Kiss Me, Kate
7.30pm
Liverpool Empire Theatre
3 Thu
Kiss Me, Kate
7.30pm
6 Thu
Kiss Me, Kate
7.30pm
4 Fri
Kiss Me, Kate
7.30pm
7 Fri
Kiss Me, Kate
7.30pm
5 Sat
Kiss Me, Kate
7.30pm
11 Tue
7pm
5.45pm
The Bristol Hippodrome
8 Tue
7pm
6pm
Birmingham Hippodrome
12 Wed
Macbeth
7.15pm
5.45pm
9 Wed
Macbeth
7.15pm
6.15pm
13 Thu
Kiss Me, Kate
7.30pm
10 Thu
Kiss Me, Kate
7.30pm
14 Fri
Kiss Me, Kate
7.30pm
11 Fri
Kiss Me, Kate
7.30pm
15 Sat
Kiss Me, Kate
7.30pm
12 Sat
Kiss Me, Kate
2.30pm
26 Wed
Macbeth
7.15pm
Kiss Me, Kate
7.30pm
27 Thu
Kiss Me, Kate
7.30pm
New Theatre Oxford
22 Tue
7pm
3pm & 5.45pm
Venue Cymru, Llandudno
28 Fri
Kiss Me, Kate
7.30pm
New Theatre Oxford
23 Wed
Macbeth
7.15pm
3pm & 5.45pm
29 Sat
Kiss Me, Kate
7.30pm
New Theatre Oxford
24 Thu
Kiss Me, Kate
7.30pm
25 Fri
Kiss Me, Kate
7.30pm
26 Sat
Kiss Me, Kate
7.30pm
6.15pm
New Theatre Oxford
Venue
Free Pre-performance Talks.
Audio Described performances with free Touch Tour prior to performance.
Tickets for free Pre-performance Talks and Touch Tours can be booked at the same time you book your tickets.
28
Season at a glance
Autumn 2016
Season at a glance
Spring 2017
December
January
Date
Opera
Time
6 Tue
Kiss Me, Kate
7 Wed
8 Thu
Additional Info
29
Venue
Date
Opera
Time
7.30pm
28 Sat
La bohème
7.15pm
Kiss Me, Kate
7.30pm
Kiss Me, Kate
2.30pm
Kiss Me, Kate
7.30pm
Date
Opera
Time
9 Fri
Kiss Me, Kate
7.30pm
2 Thu
La bohème
7.15pm
10 Sat
Kiss Me, Kate
2.30pm
3 Fri
La bohème
7.15pm
Kiss Me, Kate
7.30pm
4 Sat
La bohème
7.15pm
6.15pm
10 Fri
Madam Butterfly
7.15pm
6.15pm
11 Sat
La bohème
7.15pm
6.15pm
12 Sun
Madam Butterfly
4pm
3pm
15 Wed
La bohème
7.15pm
6.15pm
16 Thu
Le Vin herbé
7.15pm
6.15pm
17 Fri
Madam Butterfly
7.15pm
6.15pm
18 Sat
Madam Butterfly
7.15pm
6.15pm
Additional Info
6.15pm
Venue
February
Additional Info
6.15pm
6.15pm
Venue
30
Season at a glance
Spring 2017
Season at a glance
Spring 2017
March
April
Date
Opera
Time
21 Tue
Le Vin herbé
7.15pm
22 Wed
La bohème
7.15pm
23 Thu
La bohème
7.15pm
24 Fri
Madam Butterfly
7.15pm
25 Sat
Madam Butterfly
7.15pm
28 Tue
Le Vin herbé
7.15pm
29 Wed
La bohème
7.15pm
30 Thu
La bohème
7.15pm
31 Fri
Madam Butterfly
7.15pm
Additional Info
31
Venue
Date
Opera
Time
6pm
Milton Keynes Theatre
1 Sat
Madam Butterfly
7.15pm
6pm
4 Tue
Le Vin herbé
7.15pm
3pm & 5.45pm
5 Wed
La bohème
7.15pm
3pm & 5.45pm
6 Thu
Madam Butterfly
7.15pm
3pm & 5.45pm
7 Fri
La bohème
7.15pm
3pm & 5.45pm
6pm
8 Sat
Madam Butterfly
7.15pm
3pm & 5.45pm
6pm
18 Tue
Le Vin herbé
7.15pm
6pm
Theatre Royal Plymouth
19 Wed
La bohème
7.15pm
6pm
20 Thu
Madam Butterfly
7.15pm
6pm
21 Fri
La bohème
7.15pm
22 Sat
Madam Butterfly
7.15pm
25 Tue
Le Vin herbé
7.15pm
6pm
26 Wed
La bohème
7.15pm
6pm
27 Thu
Madam Butterfly
7.15pm
6pm
28 Fri
La bohème
7.15pm
29 Sat
Madam Butterfly
7.15pm
6pm
6pm
6pm
Additional Info
Venue
32
Season at a glance
Summer 2017
Keep in touch
with WNO
May
Date
Opera
Time
20 Sat
Die Fledermaus
7.15pm
33
Additional Info
6.15pm
Venue
June
Date
Opera
Time
Additional Info
3 Sat
Der Rosenkavalier
6pm
5pm
7 Wed
Die Fledermaus
7.15pm
6.15pm
9 Fri
Die Fledermaus
7.15pm
10 Sat
Der Rosenkavalier
6pm
5pm
11 Sun
Die Fledermaus
4pm
3pm
15 Thu
Die Fledermaus
7.15pm
6.15pm
16 Fri
Die Fledermaus
7.15pm
6.15pm
17 Sat
Der Rosenkavalier
6pm
5pm
27 Tue
Madam Butterfly
7.15pm
6.15pm
28 Wed
Die Fledermaus
7.15pm
29 Thu
Madam Butterfly
7.15pm
6.15pm
30 Fri
Madam Butterfly
7.15pm
6.15pm
Date
Opera
Time
1 Sat
Der Rosenkavalier
6pm
19 Wed
7.30pm
20 Thu
7.30pm
6.15pm
6.15pm
Venue
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Monday – Friday 9.30am – 5.30pm.
Please note that bookings cannot
be made on this line.
[email protected]
July
Additional Info
5pm
Venue
Royal Opera House, London*
The information printed in this brochure is printed in good faith and all the information is correct at time
of going to press. WNO reserves the right to alter the programme or casting without prior notice.
Royal Opera House, London*
*Please visit roh.org.uk for details
Der Rosenkavalier – Photo: Nilz Böhme for Theater Magdeburg
Creative Direction: Martin Lawless
Additional photography and design: Burning Red
Just
add
you
Get closer to WNO and
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further. You’ll discover
others who share your
passion. You’ll feel more
connected to us. You
will also receive benefits
such as priority booking,
access to dress rehearsals,
events, a regular magazine
and more.
Meanwhile, your
appreciation means we
can realise our many bold
and creative ambitions.
We’re here for you
to enjoy opera more.
Become a WNO Friend.
Join now from just £40
wno.org.uk/friends
WNO Friends is a registered charity, number 503538

WNO001_Brochure 2016-2017_digi_Eng

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