Milan - Turandot - Teatro alla Scala - 1 to 29 April 2026 - Anna Pirozzi - Roberto Alagna

April unfolds under the radiant and inexorable aura of Giacomo Puccini, whose Turandot stands as both a monumental farewell and an eternal enigma. In this final, unfinished masterpiece, Puccini pushes the human voice to its limits, sculpting a sound world where orchestral brilliance and vocal grandeur collide in a drama of elemental force. It is an opera that demands not only voices of exceptional power, but artists capable of transcending mere virtuosity to reach a realm of pure theatrical truth.

At the center of this vast sonic architecture rises the formidable figure of Turandot, entrusted here to two extraordinary interpreters. Anna Pirozzi embodies the role with commanding authority, her voice gleaming with steely brilliance yet always anchored in a refined and disciplined musical line. Her ascent into the role’s perilous upper register is fearless, but never merely demonstrative; instead, it reveals a singer deeply attuned to the Italian tradition, where power and phrasing coexist in perfect equilibrium. Alongside her, Ewa Płonka offers a strikingly different yet equally compelling vision: a darker, more incisive timbre, cutting through Puccini’s dense orchestration with unrelenting force. Her Turandot is sculpted in shadow and fire, a voice that does not yield, but dominates.

The role of Calaf finds in Roberto Alagna an interpreter of rare charisma and enduring artistry. Fresh from a triumphant run in Miami in this very role, Alagna arrives with renewed authority, bringing with him the imprint of recent success and a deepened understanding of the character. His voice, infused with unmistakable lyric warmth, expands effortlessly into heroic declamation, shaping phrases with elegance and emotional immediacy. In his hands, “Nessun dorma” transcends its iconic status, becoming a moment of intimate revelation as much as vocal triumph.

Sharing the role, Angelo Villari confirms his ascent among today’s most compelling spinto tenors. His Calaf is marked by a generous, vibrant vocalism and a visceral dramatic commitment. Not long ago, he achieved remarkable success in Barcelona in La forza del destino, a performance I witnessed firsthand—an unforgettable series of evenings in which he alternated the demanding role of Don Álvaro with Francesco Pio Galasso, alongside the formidable presence of Anna Pirozzi and Saioa Hernández. Those performances left a lasting impression for their intensity and vocal amplitude, and they now resonate as a significant milestone in Villari’s artistic journey. In Turandot, he brings that same fervor and vocal courage, shaping a prince of ardent resolve and human vulnerability.

Equally essential to the opera’s emotional core is Liù, portrayed with exquisite sensitivity by Mariangela Sicilia. Her voice, luminous and pure, becomes the embodiment of tenderness within Puccini’s vast and often unforgiving soundscape. Through her, the music breathes with a fragile humanity, culminating in moments of profound pathos that stand in stark contrast to the opera’s monumental scale.

Presiding over this extraordinary assembly is the baton of Nicola Luisotti, a conductor whose affinity for Puccini is both instinctive and deeply cultivated. His direction is marked by breadth, clarity, and an unwavering commitment to the primacy of the voice. Under his guidance, the orchestra does not overwhelm but supports, allowing each vocal line to emerge with natural freedom while preserving the dramatic tension that defines the score. Luisotti shapes the performance with a sense of architectural vision, balancing grandeur and intimacy in a reading that feels at once expansive and deeply rooted in the Italian operatic tradition.

In such a convergence of voices, experience, and musical intelligence, Turandot reveals itself anew—not merely as an unfinished work, but as a living testament to Puccini’s genius. Here, the extremes of human expression—cruelty and compassion, ice and fire—are carried not by spectacle, but by the sheer power of the human voice, elevated to its highest, most transcendent form.

Aprile si apre sotto il segno della grandezza pucciniana, con Turandot, testamento artistico di un genio che ha saputo trasformare la voce umana in pura materia drammatica. In quest’opera estrema e abbagliante, tutto converge verso un equilibrio fragile e potentissimo tra orchestra e canto, tra slancio lirico e tensione teatrale.

Al centro di questo universo sonoro si erge la figura implacabile di Turandot, incarnata da due interpreti di statura eccezionale. Anna Pirozzi offre una lettura di straordinaria solidità tecnica e di luminosa proiezione, capace di dominare con naturalezza le impervie vette della scrittura pucciniana, senza mai rinunciare a una linea di canto nobile e scolpita. Accanto a lei, Ewa Płonka impone una presenza vocale di acciaio, con un timbro più scuro e penetrante, che attraversa l’orchestra con impressionante autorità, restituendo una principessa di gelo e fuoco al tempo stesso.

Il ruolo di Calaf trova in Roberto Alagna un interprete carismatico e profondamente musicale. La sua voce,  intrisa di un lirismo appassionato, sa unire eleganza di fraseggio e slancio eroico, rendendo “Nessun dorma” non solo un’aria celeberrima, ma un momento di autentica verità teatrale. Angelo Villari, dal canto suo, rappresenta una presenza di grande interesse: la sua vocalità spinta, generosa e vibrante, si presta con naturalezza al profilo ardente del principe ignoto, offrendo un’alternativa intensa e visceralmente coinvolgente.

Di rara bellezza è anche il contributo di Liù, affidata a Mariangela Sicilia, la cui sensibilità musicale e purezza timbrica danno vita a una figura di struggente umanità. Il suo canto, sospeso tra fragilità e coraggio, diventa il vero cuore emotivo dell’opera, culminando in pagine di commovente intensità.

A guidare questo straordinario affresco sonoro è la bacchetta di Nicola Luisotti, interprete profondamente affine al linguaggio pucciniano. La sua direzione si distingue per ampiezza di respiro, attenzione al dettaglio orchestrale e, soprattutto, per una costante cura nel sostenere e valorizzare le voci, lasciando che il canto si espanda con naturalezza senza mai essere sopraffatto. Ne risulta una lettura vibrante, teatrale e autenticamente italiana, in cui orchestra e palcoscenico respirano all’unisono.

In questo incontro tra grandi voci e una direzione ispirata, Turandot rivela ancora una volta tutta la sua forza: quella di un’opera incompiuta eppure assoluta, capace di parlare direttamente all’anima attraverso il mistero, la potenza e la bellezza del canto.

Paris - La Bayadère - Dorothée Gilbert - 21 Jun 2026

Dorothée Gilbert: A Final Bayadère, A Defining Legacy

The 2026 series of La Bayadère at the Opéra Bastille is not simply another revival of a great classical ballet. It carries a deeper, almost historic resonance. For within this run lies what will be the final Bayadère of one of the most iconic figures of the Paris Opera Ballet: Dorothée Gilbert.

A name synonymous with excellence, refinement, and authority, Dorothée Gilbert has defined an era. And now, as she prepares to step away from the stage in the coming months, this series becomes something infinitely more precious: a farewell to a role that has accompanied her throughout her career, and that she has elevated to the highest artistic level.

A Life Devoted to Dance

Her journey began in 1995, when she entered the Paris Opera Ballet School. From there, her ascent was steady, undeniable, and brilliant. Joining the Corps de Ballet in 2000, she rose through the ranks—Coryphée, Sujet, Première Danseuse—before being named Étoile in 2007 after her first performance as Clara in The Nutcracker by Rudolf Nureyev.

From that moment on, she became one of the defining artists of her generation.

Her repertoire is immense and dazzling in its breadth: from the purity of Giselle to the brilliance of Kitri in Don Quixote, from the tragic depth of Manon to the regal authority of Odette/Odile in Swan Lake. In La Bayadère, she has embodied both Gamzatti and Nikiya—two opposing forces, both mastered with equal authority.

Her artistry combines an extraordinary technical precision with a sovereign presence. Every movement is clear, every line sculpted, every interpretation deeply considered. She is, in the truest sense, a “danseuse classique” in its most noble definition.

A Personal Memory

For me, this story is not only one of admiration—it is also deeply personal.

I first saw Dorothée Gilbert in 2005, in the role of Gamzatti. It was a revelation. Her brilliance, her authority, her dazzling technique—it was impossible to look away. She did not simply dance; she commanded the stage.

Years later, in 2012, I saw her again in the same role. But that evening became unforgettable for another reason: she was injured and had to be replaced. It was Ludmila Pagliero who stepped in for the performance on March 22—and that very night, she was named Étoile.

A moment of history. A moment of emotion. A moment that remains etched in memory.

The Final Nikiya

And now, in 2026, we arrive at what feels like a full circle.

This series of La Bayadère will mark the last time Dorothée Gilbert dances Nikiya at the Opéra Bastille. A role she first approached years ago, and one she has since deepened into something profound, introspective, and luminous.

To witness her Nikiya now is to witness not only a character, but a lifetime of experience distilled into movement. There is a maturity, a serenity, a quiet intensity that only great artists, at the height of their journey, can convey.

This is not simply another performance.

It is an event of global significance.

A Moment Not to Be Missed

In the world of ballet, there are rare occasions when time seems to gather itself around a single artist, a single role, a single series of performances. This is one of those moments.

To attend this Bayadère is to witness the closing chapter of a monumental career. A career that has traveled the world—from Tokyo to New York, from Moscow to Rio—yet has always remained rooted in the unique tradition of the Paris Opera.

For those who have followed her, admired her, or discovered her along the way, this final Nikiya will carry a particular emotion: gratitude, admiration, and perhaps a touch of melancholy.

Because artists like Dorothée Gilbert do not simply leave the stage.

They leave behind a legacy.

And on those nights at the Opéra Bastille, as the Kingdom of the Shades unfolds and she steps into the light for one last time, we will not only be watching a ballet.

We will be witnessing history.

Les Derniers Éclats d'une Étoile : Dorothée Gilbert à l'Opéra Bastille

L'Opéra national de Paris s'apprête à vivre des instants suspendus, marqués par la grâce et l'émotion. Avant ses adieux officiels à la scène en octobre prochain, la grande Dorothée Gilbert, Étoile iconique depuis 2007, illuminera une dernière fois la scène de l'Opéra Bastille dans l'un des rôles les plus exigeants du répertoire : Nikiya dans La Bayadère.

Ces représentations s'annoncent d'ores et déjà comme mémorables. Accompagnée par la puissance et l'élégance d'Hugo Marchand, son partenaire de prédilection, elle offrira au public quatre soirées d'exception. À travers la chorégraphie de Rudolf Noureev, le duo promet d'atteindre des sommets de virtuosité et de complicité dramatique.

Le calendrier de ce rendez-vous estival est à marquer d'une pierre blanche. Pour ne rien manquer de ces ultimes apparitions à Bastille, retenez bien ces dates :

Juin : 21, 26, 29

Juillet : 2

Ce sera l'ultime occasion d'admirer la pureté de sa ligne et la profondeur de son jeu avant qu'elle ne tire sa révérence définitive le 15 octobre dans L'Histoire de Manon de Kenneth MacMillan. Une page glorieuse de l'histoire du ballet français se tourne, et ces nuits d'été en seront le plus beau prélude.

Paris - La Bayadère - Rudolf Nureyev - 15 Jun 2026 - Grand Opening Night

The Paris Opera Ballet once again ignites its incomparable magic with one of the most dazzling jewels of the classical repertoire: La Bayadère. In the sumptuous and refined version by Rudolf Nureyev, honoring the immortal legacy of Marius Petipa and carried by Ludwig Minkus’s hypnotic, intoxicating score, everything is in place for a truly unforgettable series. The stage is set with opulent décor, breathtaking visual splendor, and an atmosphere charged with dramatic intensity. Above all, a constellation of extraordinary artists stands ready to illuminate each performance.

At the heart of this grand fresco lies an eternal triangle: Solor, the noble warrior torn between duty and passion, and two women who embody opposing forces yet share an equal claim to legend—Nikiya and Gamzatti.

Nikiya: Absolute Grace, Living Poetry

The role of Nikiya, the sacred dancer, demands not only immaculate technical purity but also profound emotional depth. She is the very essence of classical ballet: fragile yet radiant, spiritual yet deeply human.

For the grand opening night on June 15, 2026 at 19:30, the honor of embodying this sublime role falls to the extraordinary Sae Eun Park, widely regarded as one of the finest ballerinas in the world today. Her artistry, imbued with ethereal grace, exquisite musicality, and poetic refinement, transforms every role she touches into something transcendent. From Giselle to Aurora, from Kitri to Juliet, and from Odette to Odile, she elevates each interpretation with a rare and luminous magic. As Nikiya, a role that seems almost destined for her, she promises a performance of haunting beauty and spiritual intensity—truly a “golden Nikiya” for this prestigious premiere.

Alongside her, the elegant and princely Marc Moreau will portray Solor with noble refinement and fluid lyricism, while Inès McIntosh, with her incisive technique and commanding stage presence, will bring a dazzling and formidable Gamzatti. This trio is set to create sparks of dramatic electricity, making the opening night one of the most anticipated cultural events in Paris.

A Parade of Stellar Casts

Just two days later, on June 17, another exceptional cast takes the stage. Valentine Colasante, radiant and deeply expressive, will be Nikiya, partnered by the brilliant and refined Paul Marque as Solor. Their artistic complicity, developed over years of shared performances, promises a white act of pure harmony and emotional resonance. Opposite them, Bleuenn Battistoni, vibrant and fiery, will embody Gamzatti with striking authority and dazzling virtuosity—an ideal rival in this dramatic confrontation.

On June 20, audiences will witness a dream pairing: Héloïse Bourdon, one of the Paris Opera’s most exquisitely sensitive and poetic dancers, returns to Nikiya—a role in which she previously triumphed with memorable success. She will be joined by Germain Louvet, an elegant and noble Solor, marking an exciting new partnership full of promise and intrigue. Completing this remarkable trio is Clara Mousseigne, the new première danseuse , whose radiant technique and regal presence will make her a captivating Gamzatti. Anticipation for this performance is immense, as the chemistry between these artists remains a thrilling unknown.

The excitement reaches a peak on June 21, with what can only be described as a legendary cast. Dorothée Gilbert, the iconic étoile of the Paris Opera, will dance Nikiya with her signature authority, crystalline precision, and profound artistry. Partnered by the magnificent Hugo Marchand, whose noble stature and commanding technique have made him a true star of French ballet, this duo promises an unforgettable performance. Opposing them, Roxane Stojanov, electrifying and magnetic, will bring Gamzatti to life with blazing virtuosity and fierce elegance. This trio of exceptional power, sensuality, and technical brilliance is set to deliver a performance of historic intensity—an afternoon in Paris that will linger in memory long after the curtain falls.

Rising Stars and Anticipated Moments

As the series unfolds through June and July, the richness of the casting continues to captivate audiences. On July 8, Léonore Baulac, admired for her refined musicality, delicate lyricism, and luminous presence, will take on the role of Nikiya—one perfectly suited to her poetic nature. Her interpretation is eagerly awaited, promising echoes of her unforgettable Odette.

She will be partnered by Guillaume Diop, the young étoile whose meteoric rise has enchanted Paris. With buoyant elevation, refined technique, and a charisma reminiscent of Nureyev himself, he brings a fresh and captivating energy to Solor. Opposite them, Bianca Scudamore, the Australian ballerina of striking clarity and regal elegance, will portray Gamzatti with dazzling precision and commanding brilliance. Her dynamic presence ensures a thrilling dramatic tension with Baulac’s lyrical Nikiya.

The Final Stretch

The series culminates on July 14, with Baulac, Diop, and Scudamore returning to close the run in grand style—an elegant and powerful conclusion to this extraordinary journey.

Yet one date remains shrouded in mystery: July 12. The cast for this penultimate performance has not yet been announced, adding an irresistible element of suspense. Could it be an opportunity for emerging talents? Future étoiles stepping into the spotlight? The unknown only heightens the excitement, as audiences eagerly await what may become a night of discovery and revelation.

An Unmissable Event

At the Paris Opera, there are no ordinary performances—only nights of pure enchantment. Each cast offers a unique alchemy, a different emotional landscape, a new interplay of styles and energies.

When the curtain rises on La Bayadère at the Opéra Bastille, time seems to stand still. The Kingdom of the Shades descends in hypnotic perfection, the glances between Nikiya and Gamzatti ignite with unspoken intensity, and Minkus’s music carries the audience into a dreamlike realm.

Paris will shine brighter than ever this summer.

The magic is ready to unfold.

The duel is set.

And the emotion promises to be unforgettable.

On June 15, 2026, at the majestic Opéra Bastille, the curtain will rise on a performance already destined to become legend. Opening this exceptional series of La Bayadère, the Paris Opera Ballet entrusts the role of Nikiya to an artist whose name today resonates across the world with rare unanimity: Sae Eun Park.

Considered by critics, international experts, and devoted ballet audiences alike as one of the finest ballerinas on the planet, she embodies a form of excellence that goes beyond hierarchy or titles. Within the refined universe of the Paris Opera Ballet—where all Étoiles stand at the summit—she has nevertheless achieved something rarer: a state of artistic transcendence.

This inaugural evening, already one of the most anticipated cultural events of the Parisian season, finds in her its most luminous figure. Her Nikiya is not merely awaited—it is revered.

A Formation Forged in Absolute Rigor

What gives Sae Eun Park that almost unreal quality—this sensation of weightlessness, of perfect clarity—is rooted in her complete and rigorous formation in South Korea.

She trained at the prestigious Korea National University of Arts in Seoul, where discipline, precision, and technical exactitude are cultivated to the highest degree. The Korean ballet tradition, deeply influenced by the Russian Vaganova method, instilled in her a foundation of extraordinary strength: immaculate lines, crystalline extensions, and an unshakable control.

Her early career confirmed this exceptional promise. Winning the Prix de Lausanne in 2007 and earning gold medals at both the Varna International Ballet Competition and the Premio Roma, she quickly established herself as a dancer of unmistakable superiority on the global stage.

Yet what makes her unique is not only this formidable technical base—it is what she became after.

The Fusion of Two Worlds

When she joined the Paris Opera Ballet in 2012, Sae Eun Park entered a new artistic universe: that of the French school, with its emphasis on elegance, musicality, and refined épaulement.

What followed was not a transformation, but an alchemy.

The absolute rigor of her Korean and Russian-influenced training merged with the poetic softness and stylistic nuance of the French tradition. The result is a dancer whose technique appears invisible—because it is completely mastered—and whose movement flows with a natural, almost spiritual ease.

This synthesis places her in a category apart. She does not simply dance Nikiya—she seems to become her.

Nikiya: A Definitive Interpretation

In La Bayadère, Nikiya is not only a technical challenge; she is a vision. A being suspended between earth and sky, love and sacrifice, presence and memory.

In this role, Sae Eun Park reaches a level that many describe, with careful admiration, as definitive.

Her purity of line evokes the finest traditions of classical ballet, yet there is something more—something intangible. Her movement seems to dissolve gravity itself. Each gesture breathes with the music of Ludwig Minkus, as if her body were shaped by the score.

Where others may emphasize drama or virtuosity, she offers something rarer: spirituality. From her very first entrance, she appears less a mortal dancer than a presence—a shadow, a memory, a soul already touched by destiny.

It is this quality that places her, in the eyes of many connoisseurs, in a realm that feels almost unreachable. Not above others in absolute terms—since the stage is filled with extraordinary artists—but singular in this role, in this moment.

The Inaugural Trio: A Night of Fire and Light

For this opening performance, Sae Eun Park will be joined by two remarkable partners.

Marc Moreau brings to Solor a princely elegance and a refined nobility of line, his dancing imbued with clarity and grace. His interpretation promises a sensitive and poetic counterpoint to Nikiya’s ethereal presence.

Opposite them, Inès McIntosh steps into the role of Gamzatti with dazzling authority. Her incisive technique, radiant attack, and commanding stage presence make her an ideal rival—brilliant, proud, and irresistibly powerful.

Together, this trio forms a dramatic constellation of rare intensity: softness against fire, spirituality against brilliance, love against destiny. The tension between them will not merely be danced—it will be felt.

A Star Beyond the Stage

Since her nomination as Étoile in 2021, following her unforgettable debut as Juliet in Romeo and Juliet by Rudolf Nureyev, Sae Eun Park has continued to deepen and expand her artistry.

From Giselle to Swan Lake, from The Sleeping Beauty to Don Quixote, she has illuminated every role with a unique blend of technical perfection and emotional truth. Yet it is perhaps in roles like Nikiya that her art finds its most natural expression—where purity, lyricism, and transcendence converge.

An Unforgettable Beginning

The evening of June 15 will not simply mark the beginning of a ballet run. It will be the opening of a journey into beauty at its highest form.

In a city where greatness is expected, Sae Eun Park promises something even rarer: a moment where art seems to surpass itself.

Paris will be watching.

The stage will be bathed in gold.

And as Nikiya steps into the light, time itself may well stand still.

London - Mayerling - Melissa Hamilton & Matthew Ball - 30 March 2026

What a joy to see Mayerling return to the Royal Ballet stage in 2026. This masterpiece by Kenneth MacMillan is undoubtedly one of the most powerful, sumptuous, and psychologically breathtaking ballets in the repertoire. Inspired by the true and tragic story of Crown Prince Rudolf of Austria and Baroness Mary Vetsera, it plunges us into the depths of a destructive passion, a world of desire, madness, political oppression, and fate.

The story is well-known, yet it remains profoundly moving. Prince Rudolf, the tormented heir to the Austro-Hungarian Empire, is stifled by a rigid and hypocritical court. His marriage is unhappy, his political ideals are suppressed, and his inner demons intensify. Mary Vetsera, a young baroness captivated by this mysterious prince, is drawn into a spiral of obsession and absolute passion. Their fate, sealed at the Mayerling hunting lodge, remains one of the most striking dramas in European history. MacMillan transforms this tragedy into an incandescent ballet of rare emotional intensity, set to sumptuous, sensitive music that is by turns lyrical and heart-rending.

This season, the Royal Ballet presents a series of performances that will place London, once again—and perhaps more than ever—at the heart of the international choreographic scene.

Opening Night—March 30, 2026, 7:00 p.m.

Matthew Ball, Melissa Hamilton, Mayara Magri, Kristen McNally, Meaghan Grace Hinkis

The premiere promises to be historic. Melissa Hamilton will portray Mary Vetsera, alongside Matthew Ball as Prince Rudolf. One can already imagine the electric atmosphere in the theater. Hamilton, a Belfast-born principal dancer and winner of the Youth American Grand Prix in New York, is a performer deeply influenced by MacMillan's ballets. She beautifully expressed how these works are almost cathartic: they demand drawing on one's own experience, an inner surrender, to achieve a truthful performance. She speaks of this fascinating juxtaposition between becoming someone else while remaining completely true to one's own emotions—a liberating veil that allows for a rare intensity.

Her Mary Vetsera promises to be enchanting, vibrant, and authentic. Opposite her, Matthew Ball, another exceptional artist, will bring dramatic depth and magnetic intensity to Prince Rudolf. Their rapport, their chemistry, their stage presence promise an explosive evening, undoubtedly the most anticipated of the season. 

Each cast is remarkable. Every artist possesses the technique, dramatic maturity, and sensitivity necessary to tackle the immense challenge that is Mayerling. If you can't attend the opening night, rest assured: the other couples will be just as formidable.

But it must be said—the first performance with Melissa Hamilton and Matthew Ball has something particularly dazzling about it. A promise of magnetism, dramatic tension, beauty, and stage truth. A rare alchemy.

We are truly privileged to attend this run. Mayerling is not just a ballet: it is an intense emotional experience, a psychological thriller, a sumptuous historical epic. London is about to resonate with the rhythm of an unforgettable tragedy.

And what a joy it is to anticipate this with such enthusiasm.

Spring 2026 promises a truly dazzling event in the heart of London. The stage of the Royal Opera House will be transformed into a portal to 19th-century imperial Europe with the return of one of the most intense works in the repertoire: Mayerling, a masterful creation by the great British choreographer Kenneth MacMillan.

But this time, more than ever, audiences will come not only for the choreography or the music. They will also come to immerse themselves in a universe of luxury, splendor, and tragic romance. From the moment the curtain rises, the spectator will be transported far from contemporary London to travel, for a few hours, to the sumptuous world of imperial Vienna: gilded halls, resplendent uniforms, ladies draped in silks and jewels, and the atmosphere of legendary court balls that inevitably evoke the era of Empress Elisabeth of Austria.

The sets and costumes of Mayerling are a spectacle in themselves. With an opulence worthy of a Hollywood blockbuster, each scene recreates the splendor of the Habsburg court in exquisite detail. The stage seems to open the doors of Vienna's Hofburg Palace, immersing the audience in a world of aristocratic elegance, palace intrigue, and forbidden passions.

The opening night, March 30, promises to be absolutely historic. The leading lady will be principal dancer Melissa Hamilton, who will embody the tragic Baroness Mary Vetsera. Belfast-born Hamilton, one of the Royal Ballet's most refined performers, possesses extraordinary stage presence. Her presence combines elegance, emotional depth, and a dramatic intensity that promises to make her Mary Vetsera an unforgettable figure.

Alongside her will be the powerful and magnetic Matthew Ball, who will take on the tormented role of Crown Prince Rudolf of Austria. Together they will form a stage couple of enormous dramatic force, destined to electrify the theater in an evening that many are already anticipating as one of the season's major events.

The story opens with a scene of pure imperial splendor: the grand ballroom of the Hofburg Palace in Vienna. There, the marriage of Crown Prince Rudolf and Princess Stephanie of Belgium is being celebrated with great pomp. The court gleams beneath the chandeliers, Hungarian officers wear their uniforms, and the ladies swirl amidst waltzes and intrigues. But beneath this glittering surface, drama is already brewing: Rudolf is openly flirting with Princess Louise, his wife's sister, causing a scandal in the eyes of Emperor Franz Joseph I of Austria and Empress Elisabeth of Austria.

At this same ball appears the young Mary Vetsera, barely a teenager, captivated by the mysterious prince. This encounter will mark the beginning of an irresistible and fatal passion.

The breathtaking music of Franz Liszt, magnificently orchestrated by John Lanchbery, envelops the entire action with a romantic intensity that seems to make every gesture, every glance, every step pulse with emotion.

Although the opening night with Melissa Hamilton and Matthew Ball promises a truly special brilliance, the remaining performances will feature extraordinary casts that reflect the immense artistic richness of The Royal Ballet. Fascinating figures dancers of the Royal Ballet will each bring their own unique vision to these tormented characters.

And therein lies one of the greatest wonders of this series: witnessing how different artists explore the psychology of Prince Rudolf and the young Baroness. Each performer reveals new nuances, new shadows, new passions.

It will undoubtedly be an unforgettable season. A series of evenings in which London will be transformed into imperial Vienna, where the music, dance, sets, and costumes will transport us to the golden age of European princes.

For a few hours, the audience will not simply be in a theater. They will be living inside a story.

A story of beauty, power, passion… and tragedy.

Quel bonheur de voir Mayerling revenir sur la scène du Royal Ballet en 2026. Ce chef-d’œuvre de Kenneth MacMillan est sans doute l’un des ballets les plus puissants, les plus somptueux et les plus psychologiquement vertigineux du répertoire. Inspiré de l’histoire réelle et tragique du prince héritier Rodolphe d’Autriche et de la baronne Mary Vetsera, il nous entraîne dans les abîmes d’une passion destructrice, entre désir, folie, oppression politique et fatalité.

L’histoire est connue, et pourtant elle bouleverse toujours. Le prince Rodolphe, héritier tourmenté de l’Empire austro-hongrois, étouffe dans une cour rigide et hypocrite. Son mariage est malheureux, ses idéaux politiques sont réprimés, ses démons intérieurs s’intensifient. Mary Vetsera, jeune baronne fascinée par ce prince mystérieux, se laisse entraîner dans une spirale d’obsession et de passion absolue. Leur destin scellé au pavillon de chasse de Mayerling demeure l’un des drames les plus saisissants de l’histoire européenne. MacMillan transforme cette tragédie en un ballet incandescent, d’une intensité émotionnelle rare, porté par une musique somptueuse, sensible, tour à tour lyrique et déchirante.

Le Royal Ballet offre cette saison une série de représentations qui placeront Londres, une fois encore — et peut-être plus que jamais — au centre de la scène chorégraphique internationale.

La soirée d’ouverture — 30 mars 2026, 19h

Matthew Ball, Melissa Hamilton, Mayara Magri, Kristen McNally, Meaghan Grace Hinkis

La première s’annonce historique. Melissa Hamilton incarnera Mary Vetsera, aux côtés de Matthew Ball en prince Rodolphe. On peut déjà imaginer l’électricité dans la salle. Hamilton, danseuse principale née à Belfast et lauréate du Youth American Grand Prix à New York, est une interprète profondément marquée par les ballets de MacMillan. Elle a magnifiquement exprimé combien ces œuvres sont presque cathartiques : elles exigent de puiser dans sa propre expérience, de se livrer intérieurement pour atteindre une vérité scénique. Elle parle de cette juxtaposition fascinante entre devenir quelqu’un d’autre tout en restant totalement sincère avec ses propres émotions — un voile libérateur qui permet une intensité rare.

Sa Mary Vetsera promet d’être ensorcelante, vibrante, authentique. Face à elle, Matthew Ball, autre artiste d’exception, donnera au prince Rodolphe une profondeur dramatique et une intensité magnétique. Leur complicité, leur chimie, leur présence scénique annoncent une soirée explosive, sans doute la plus attendue de la saison.

2 avril 2026, 13h

Calvin Richardson, Sarah Lamb, Anna Rose O'Sullivan, Annette Buvoli, Viola Pantuso

2 avril 2026, 19h

William Bracewell, Fumi Kaneko, Leticia Dias, Lara Turk, Sae Maeda

4 avril 2026, 19h30

Matthew Ball, Melissa Hamilton, Mayara Magri, Kristen McNally, Meaghan Grace Hinkis

7 avril 2026, 19h30

Vadim Muntagirov, Akane Takada, Isabel Lubach, Nadia Mullova-Barley, Marianna Tsembenhoi

9 avril 2026, 19h30

Matthew Ball, Melissa Hamilton, Mayara Magri, Kristen McNally, Meaghan Grace Hinkis

11 avril 2026, 19h30

Ryoichi Hirano, Natalia Osipova, Claire Calvert, Christina Arestis, Madison Bailey

25 avril 2026, 13h

Vadim Muntagirov, Akane Takada, Isabel Lubach, Nadia Mullova-Barley, Marianna Tsembenhoi

25 avril 2026, 19h

Ryoichi Hirano, Natalia Osipova, Claire Calvert, Christina Arestis, Madison Bailey

27 avril 2026, 19h30

Calvin Richardson, Sarah Lamb, Anna Rose O'Sullivan, Annette Buvoli, Viola Pantuso

29 avril 2026, 19h30

Marcelino Sambé, Francesca Hayward, Olivia Cowley, Mica Bradbury, Ella Newton Severgnini

4 mai 2026, 19h30

Marcelino Sambé, Francesca Hayward, Olivia Cowley, Mica Bradbury, Ella Newton Severgnini

9 mai 2026, 13h

Calvin Richardson, Sarah Lamb, Anna Rose O'Sullivan, Annette Buvoli, Viola Pantuso

9 mai 2026, 19h

Ryoichi Hirano, Natalia Osipova, Claire Calvert, Christina Arestis, Madison Bailey

11 mai 2026, 19h30

William Bracewell, Fumi Kaneko, Leticia Dias, Lara Turk, Sae Maeda

16 mai 2026, 13h

Vadim Muntagirov, Akane Takada, Isabel Lubach, Nadia Mullova-Barley, Marianna Tsembenhoi

16 mai 2026, 19h

William Bracewell, Fumi Kaneko, Leticia Dias, Lara Turk, Sae Maeda

18 mai 2026, 19h30

Marcelino Sambé, Francesca Hayward, Olivia Cowley, Mica Bradbury, Ella Newton Severgnini

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Chaque distribution est remarquable. Chacun de ces artistes possède la technique, la maturité dramatique et la sensibilité nécessaires pour affronter l’immense défi qu’est Mayerling. Si vous ne pouvez assister à la soirée d’ouverture, soyez rassuré : les autres couples seront tout aussi formidables.

Mais il faut bien le dire — la première avec Melissa Hamilton et Matthew Ball a quelque chose de particulièrement étincelant. Une promesse de magnétisme, de tension dramatique, de beauté et de vérité scénique. Une alchimie rare.

Nous sommes véritablement privilégiés d’assister à cette série. Mayerling n’est pas seulement un ballet : c’est une expérience émotionnelle intense, un vertige psychologique, une fresque historique somptueuse. Londres s’apprête à vibrer au rythme d’une tragédie inoubliable.

Et quelle joie d’attendre cela avec autant d’enthousiasme.

This spring, Royal Opera House becomes the stage for one of the most intense and psychologically charged works in the classical repertoire: Mayerling, created by the visionary British choreographer Kenneth MacMillan. Set to the sweeping, turbulent music of Franz Liszt, arranged and orchestrated by John Lanchbery, the ballet plunges us into the dark emotional world surrounding the tragic Mayerling incident — the apparent murder–suicide of Crown Prince Rudolf of Austria and Baroness Mary Vetsera.

Since its premiere in London on 14 February 1978, danced by The Royal Ballet, Mayerling has remained a towering dramatic challenge for dancers. The role of the Baroness was first brought to life by the unforgettable Lynn Seymour, whose portrayal passed into ballet history as one of searing vulnerability and tragic intensity. Every new generation that steps into these roles carries the weight of that legacy — and this upcoming series promises nothing less than artistic fire.

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30 March, 7:00 PM – Opening Night

The premiere on Monday, 30 March at 7:00 PM, will shine with the presence of Principal dancer Melissa Hamilton as Baroness Mary Vetsera. Hamilton brings a luminous lyricism and refined dramatic intelligence to the role; her Baroness is sure to be tender yet fearless, radiating youthful devotion while embracing the character’s fatal destiny with haunting sincerity.

Opposite her, Matthew Ball takes on the formidable role of Crown Prince Rudolf. Ball is known for his commanding stage presence and psychological depth. His Rudolf promises to be magnetic and volatile — a man torn between royal duty and inner torment, portrayed with raw intensity and aristocratic elegance.

This glittering opening cast also includes Mayara Magri, Kristen McNally and Meaghan Grace Hinkis, ensuring an evening of emotional electricity and theatrical grandeur.

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2 April – Matinée Performance

In the afternoon performance on 2 April, the exquisite Sarah Lamb dances the Baroness. Currently triumphing as Giselle, Lamb brings a rare combination of silken refinement and emotional transparency. Her Mary Vetsera will surely be poetic and deeply touching — fragile yet resolute, a young woman consumed by love.

Her Rudolf will be Steven McRae, whose explosive virtuosity and dramatic commitment make him an extraordinary interpreter of MacMillan’s tormented prince. McRae’s Rudolf is expected to be fiery and unpredictable, combining technical brilliance with psychological complexity.

They are joined by Anna Rose O’Sullivan, Annette Buvoli and Viola Pantuso in what promises to be a beautifully balanced cast.

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2 April – Evening Performance

That same evening, another exceptional pairing takes the stage. Fumi Kaneko dances Mary Vetsera with her trademark delicacy and crystalline purity. Kaneko’s artistry is both sensitive and deeply musical; her Baroness is likely to glow with innocence while revealing subtle emotional strength.

Opposite her, William Bracewell embodies Rudolf with sculpted precision and introspective power. Bracewell brings a noble line and simmering intensity to the role, portraying the prince’s descent into obsession with gripping authenticity.

Leticia Dias, Lara Turk and Sae Maeda complete this compelling ensemble.

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7 April

On 7 April, audiences will witness a particularly thrilling cast. Akane Takada takes on the Baroness with her ethereal grace and refined dramatic nuance. Takada’s dancing is radiant and exquisitely detailed; her interpretation promises to blend tenderness with quiet determination.

Her Rudolf will be the magnificent Vadim Muntagirov, whose princely bearing and expansive technique make him ideally suited to the role. Muntagirov brings sweeping romanticism and emotional depth, crafting a Rudolf both tormented and heartbreakingly human.

They are joined by Isabel Lubach, Nadia Mullova-Barley and Marianna Tsembenhoi — rising stars whose recent debuts have drawn increasing acclaim.

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11 April

One of the most anticipated evenings arrives on 11 April with the extraordinary Natalia Osipova as Mary Vetsera. Osipova is a force of nature — fearless, incandescent and emotionally unguarded. Her Baroness will undoubtedly blaze with passion, vulnerability and dangerous intensity, making this performance unforgettable.

Her Rudolf, Ryoichi Hirano, brings dramatic authority and psychological subtlety to the role. Hirano’s portrayal is often layered and introspective, revealing the prince’s inner turmoil with controlled power and haunting presence.

They are supported by Claire Calvert, Christina Arestis and Madison Bailey.

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29 April

Closing this remarkable series on 29 April, Francesca Hayward steps into the role of the Baroness. Hayward’s dancing is luminous, poetic and deeply expressive. She brings a cinematic naturalism to the stage — every gesture alive with feeling. Her Mary Vetsera is likely to be both radiant and heartbreakingly sincere.

Dancing Rudolf is Marcelino Sambé, whose vibrant charisma and emotional immediacy electrify every performance. Sambé’s interpretation promises intensity and dramatic fire, revealing the prince’s restless spirit with compelling urgency.

Olivia Cowley, Mica Bradbury and Ella Newton Severgnini complete this sensational cast.

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With the magnificent orchestra of the Royal Opera House bringing Liszt’s sweeping score to life, these London evenings promise an overwhelming fusion of music, drama and dance. Mayerling is not merely a ballet — it is theatre at its most passionate and cinematic, where extraordinary artists transform history into living emotion.

These performances are set to be nights of explosive passion, refined artistry and unforgettable storytelling — a true celebration of The Royal Ballet at its most powerful.

La primavera de 2026 promete un acontecimiento verdaderamente deslumbrante en el corazón de Londres. El escenario del Royal Opera House se transformará en un portal hacia la Europa imperial del siglo XIX con el regreso de una de las obras más intensas del repertorio: Mayerling, creación magistral del gran coreógrafo británico Kenneth MacMillan.

Pero esta vez, más que nunca, el público no solo acudirá por la coreografía o por la música. Acudirá también para sumergirse en un universo de lujo, esplendor y romanticismo trágico. Desde que se alce el telón, el espectador será transportado lejos de la Londres contemporánea para viajar, durante unas horas, al fastuoso mundo de la Viena imperial: salones dorados, uniformes resplandecientes, damas envueltas en sedas y joyas, y la atmósfera de los legendarios bailes de la corte que evocan inevitablemente la era de Empress Elisabeth of Austria.

Los decorados y el vestuario de Mayerling son en sí mismos un espectáculo. Con una opulencia digna de una superproducción cinematográfica de Hollywood, cada escena recrea con un detalle exquisito el esplendor de la corte de los Habsburgo. El escenario parece abrir las puertas del Hofburg de Viena, sumergiendo al público en un mundo de elegancia aristocrática, intrigas palaciegas y pasiones prohibidas.

La noche del estreno, el 30 de marzo, promete ser absolutamente histórica. La gran protagonista será la bailarina principal Melissa Hamilton, quien encarnará a la trágica baronesa Mary Vetsera. Hamilton, nacida en Belfast y una de las intérpretes más refinadas del Royal Ballet, posee una sensibilidad escénica extraordinaria. Su presencia combina elegancia, profundidad emocional y una intensidad dramática que promete hacer de su Mary Vetsera una figura inolvidable.

A su lado estará el poderoso y magnético Matthew Ball, quien asumirá el atormentado papel de Crown Prince Rudolf of Austria. Juntos formarán una pareja escénica de enorme fuerza dramática, destinada a electrizar el teatro en una velada que muchos ya anticipan como uno de los grandes acontecimientos de la temporada.

La historia comienza con una escena de puro esplendor imperial: el gran salón de baile del Hofburg de Viena. Allí se celebra con pompa el matrimonio entre el príncipe heredero Rodolfo y la princesa Estefanía de Bélgica. La corte resplandece bajo los candelabros, los oficiales húngaros lucen sus uniformes, y las damas giran entre valses y conspiraciones. Pero bajo esa superficie brillante late ya el drama: Rodolfo coquetea abiertamente con la princesa Luisa, hermana de su esposa, provocando el escándalo ante el emperador Franz Joseph I of Austria y la emperatriz Empress Elisabeth of Austria.

En ese mismo baile aparece la joven Mary Vetsera, apenas una adolescente fascinada por el misterioso príncipe. Ese encuentro marcará el comienzo de una pasión irresistible y fatal.

La música arrebatadora de Franz Liszt, magníficamente orquestada por John Lanchbery, envuelve toda la acción con una intensidad romántica que parece hacer latir cada gesto, cada mirada, cada paso.

Aunque la primera noche con Melissa Hamilton y Matthew Ball promete un brillo muy especial, el resto de las funciones contará con repartos extraordinarios que reflejan la inmensa riqueza artística del The Royal Ballet. Figuras tan fascinantes como Natalia Osipova, Steven McRae, Vadim Muntagirov, Fumi Kaneko, Sarah Lamb o Francesca Hayward aportarán cada uno su propia visión de estos personajes atormentados.

Y ahí reside también una de las mayores maravillas de esta serie: ver cómo diferentes artistas exploran la psicología del príncipe Rodolfo y de la joven baronesa. Cada intérprete revela nuevos matices, nuevas sombras, nuevas pasiones.

Será, sin duda, una temporada inolvidable. Una serie de noches en las que Londres se transformará en la Viena imperial, donde la música, la danza, los decorados y el vestuario nos transportarán a la edad dorada de los príncipes de Europa.

Durante unas horas, el público no estará simplemente en un teatro. Estará viviendo dentro de una historia.

Una historia de belleza, poder, pasión… y tragedia.

Весна 2026 года обещает поистине ослепительное событие в самом сердце Лондона. Сцена Королевской оперы превратится в портал в имперскую Европу XIX века с возвращением одного из самых впечатляющих произведений репертуара: «Майерлинг», шедевра великого британского хореографа Кеннета Макмиллана.

Но на этот раз, как никогда прежде, зрители придут не только ради хореографии или музыки. Они также придут, чтобы погрузиться во вселенную роскоши, великолепия и трагической романтики. С момента поднятия занавеса зритель перенесется далеко от современного Лондона, на несколько часов в роскошный мир имперской Вены: позолоченные залы, блистательные мундиры, дамы в шелках и драгоценностях, атмосфера легендарных придворных балов, неизбежно напоминающая эпоху императрицы Елизаветы Австрийской.

Декорации и костюмы «Майерлинга» сами по себе являются зрелищем. С роскошью, достойной голливудского блокбастера, каждая сцена воссоздает великолепие двора Габсбургов в мельчайших деталях. Сцена словно открывает двери венского дворца Хофбург, погружая зрителей в мир аристократической элегантности, дворцовых интриг и запретных страстей.

Премьера, 30 марта, обещает стать поистине исторической. Главную роль исполнит ведущая танцовщица Мелисса Гамильтон, которая воплотит трагическую баронессу Марию Ветсеру. Уроженка Белфаста Гамильтон, одна из самых утонченных исполнительниц Королевского балета, обладает необыкновенным сценическим обаянием. Ее харизма сочетает в себе элегантность, эмоциональную глубину и драматическую интенсивность, что обещает сделать ее Марию Ветсеру незабываемой фигурой.

Рядом с ней выступит сильный и магнетический Мэтью Болл, который исполнит мучительную роль наследного принца Рудольфа Австрийского. Вместе они образуют сценическую пару огромной драматической силы, которой суждено взорвать театр вечером, который многие уже предвкушают как одно из главных событий сезона.

История начинается со сцены, демонстрирующей чистое имперское великолепие: грандиозный бальный зал дворца Хофбург в Вене. Там с большой помпой отмечается свадьба наследного принца Рудольфа и принцессы Стефании Бельгийской. Двор сияет под люстрами, венгерские офицеры в мундирах, а дамы кружатся в вальсах и интригах. Но под этой сверкающей поверхностью уже назревает драма: Рудольф открыто флиртует с принцессой Луизой, сестрой своей жены, вызывая скандал в глазах императора Франца Иосифа I Австрийского и императрицы Елизаветы Австрийской.

На этом же балу появляется юная Мария Ветсера, едва достигшая подросткового возраста, очарованная таинственным принцем. Эта встреча положит начало непреодолимой и роковой страсти.

Захватывающая дух музыка Франца Листа, великолепно оркестрованная Джоном Ланчбери, окутывает всё действие романтической интенсивностью, которая, кажется, наполняет эмоциями каждый жест, каждый взгляд, каждый шаг.

Хотя премьерный вечер с Мелиссой Гамильтон и Мэтью Боллом обещает поистине особенное великолепие, в оставшихся спектаклях примут участие выдающиеся составы артистов, отражающие огромное художественное богатство Королевского балета. Такие очаровательные фигуры, как Наталья Осипова, Стивен Макрей, Вадим Мунтагиров, Фуми Канеко, Сара Лэмб и Франческа Хейворд, каждый привнесет своё уникальное видение в образы этих измученных персонажей.

И в этом заключается одно из величайших чудес этого сезона: наблюдение за тем, как разные артисты исследуют психологию принца Рудольфа и молодой баронессы. Каждый исполнитель раскрывает новые нюансы, новые тени, новые страсти.

Несомненно, это будет незабываемый сезон. Серия вечеров, в течение которых Лондон преобразится в имперскую Вену, где музыка, танцы, декорации и костюмы перенесут нас в золотой век европейских принцев.

На несколько часов зрители окажутся не просто в театре. Они погрузятся в историю.

Историю красоты, силы, страсти… и трагедии. ✨

Le très attendu retour de Mayerling sur la scène du Royal Opera House suscite déjà une immense émotion parmi les passionnés de danse. Ce chef-d’œuvre dramatique de Kenneth MacMillan, inspiré de l’énigmatique Mayerling Incident, revient dans toute sa puissance théâtrale et chorégraphique, promettant une série de représentations profondément marquantes.

Pour cette reprise exceptionnelle, l’ouverture de la série sera portée par la présence lumineuse de la danseuse divine Melissa Hamilton, l’une de mes favorites au monde. Née à Belfast, cette artiste d’une sensibilité rare a été consacrée comme l’une des étoiles majeures de la compagnie. Son élégance aristocratique, la pureté de ses lignes et son intelligence dramatique font d’elle une interprète idéale pour l’univers sombre et psychologiquement complexe de Mayerling. Sa danse possède cette qualité rare : elle ne se contente pas d’être belle, elle raconte, elle respire, elle vit chaque nuance émotionnelle.

À ses côtés apparaîtra le fabuleux Matthew Ball, danseur d’une élégance remarquable et d’une présence scénique magnétique. Sa technique brillante, alliée à une musicalité raffinée et à une intensité dramatique impressionnante, promet une incarnation bouleversante du prince Rodolphe. Sur scène, Ball possède cette capacité singulière d’habiter le personnage jusque dans le moindre geste, créant une tension dramatique palpable. Sa silhouette noble et son interprétation profondément humaine rendent chacune de ses apparitions inoubliables.

Avec ces deux artistes iconiques, la soirée s’annonce comme un moment exceptionnel, non seulement pour London, mais pour le monde du ballet tout entier. Lorsque deux interprètes de cette stature se rencontrent dans un ballet aussi intense, l’expérience devient presque cinématographique : le spectateur est littéralement absorbé par le drame.

Mais la richesse de cette reprise ne s’arrête pas là. De nombreux autres artistes extraordinaires prendront part à la production, chacun apportant sa personnalité artistique et son talent unique.

Parmi eux, le spectaculaire Vadim Muntagirov, modèle d’élégance classique et de précision absolue, dont la danse allie noblesse, fluidité et une pureté académique presque idéale. Sa maîtrise technique exceptionnelle lui permet d’exprimer avec finesse les tourments psychologiques du personnage.

À ses côtés, la délicate et poétique Akane Takada, dont la musicalité cristalline et la sensibilité expressive apportent une profondeur émotionnelle remarquable à chacun de ses rôles.

L’intensité dramatique de Natalia Osipova promet également des moments d’une puissance électrisante. Artiste d’une énergie volcanique et d’une vérité émotionnelle saisissante, Osipova transforme chaque apparition en événement théâtral.

Le public pourra aussi admirer la finesse et la délicatesse de Francesca Hayward, interprète subtile dont la sensibilité artistique et la grâce lumineuse touchent profondément le spectateur.

Le brillant Marcelino Sambé, danseur au charisme irrésistible et à la virtuosité étincelante, apportera sa musicalité naturelle et sa présence scénique captivante.

La précision élégante de William Bracewell, l’une des figures les plus raffinées de la nouvelle génération, promet également une lecture très nuancée du rôle principal.

La splendide Fumi Kaneko, admirée pour la pureté de sa technique et son raffinement artistique, incarne cette fusion parfaite entre virtuosité classique et émotion sincère.

Parmi les autres artistes remarquables de la distribution figurent également Ryoichi Hirano, danseur puissant et théâtral, Sarah Lamb, incarnation d’une élégance intemporelle, ainsi que la brillante Anna Rose O'Sullivan, dont la musicalité et la précision rayonnent sur scène.

La distribution se complète avec de magnifiques interprètes tels que Mayara Magri, Kristen McNally, Meaghan Grace Hinkis, Leticia Dias, Lara Turk, Sae Maeda, Claire Calvert, Christina Arestis, Olivia Cowley, Mica Bradbury, Ella Newton Severgnini, Annette Buvoli, Viola Pantuso, Isabel Lubach et Nadia Mullova-Barley.

Tous ces artistes partagent une qualité essentielle : leur capacité à être non seulement des danseurs d’exception, mais de véritables acteurs sur scène. Et c’est précisément ce qui rend Mayerling si unique. Ce ballet est l’un des défis dramatiques les plus exigeants du répertoire. Les pas ne sont jamais de simples démonstrations techniques : ils deviennent le langage d’une tragédie humaine.

Dans cette œuvre fascinante, la danse se transforme en théâtre pur. Les corps racontent la psychologie des personnages, leurs obsessions, leurs désirs et leurs tragédies. Chaque pas de deux est chargé de tension émotionnelle, chaque regard, chaque geste contribue à tisser une atmosphère presque hypnotique.

Ainsi, cette nouvelle série de représentations promet d’être bien plus qu’un spectacle : une véritable immersion dans l’un des ballets les plus profonds et captivants jamais créés, un drame chorégraphique qui enveloppe le spectateur et le transporte au cœur d’un monde de passion, de mystère et d’intensité artistique absolue. Une soirée qui, sans aucun doute, restera gravée dans la mémoire de tous les amoureux de la danse. 

Some ballets arrive not simply as performances, but as true events in the life of a company. Mayerling, Kenneth MacMillan’s psychologically gripping masterpiece, is one of those rare works. Dark, complex and emotionally devastating, it demands extraordinary dramatic depth and technical power from every artist who steps into its world.

Premiere 30th march 2026

This season, the Royal Ballet presents an entire month that feels like a constellation of stars. Each cast brings together remarkable artists, each with their own voice, their own dramatic color, their own way of illuminating MacMillan’s intense choreography. It makes choosing just one performance almost impossible — and perhaps that is part of the joy. Every evening promises something unique.

Among these exceptional performances, the cast on 30 March 2026 promises to be particularly unforgettable.

Matthew Ball takes on the formidable role of Crown Prince Rudolf, one of the most demanding roles in the male repertoire. The part requires not only physical stamina but also deep psychological complexity, and Ball has repeatedly shown the rare ability to combine powerful technique with nuanced dramatic insight. Rudolf is a character who lives on the edge of emotional collapse, and when interpreted with intelligence and intensity, the role becomes utterly mesmerizing.

Opposite him, Melissa Hamilton dances Baroness Mary Vetsera. Hamilton is an artist of striking musicality and emotional presence, and seeing her alongside Ball in this volatile, magnetic partnership promises a moment of true theatrical electricity. Together they form one of those stage pairings that audiences remember long after the curtain falls — a meeting of two compelling dance personalities at the height of their artistry.

The evening is further enriched by the formidable Mayara Magri as Countess Marie Larisch. Magri, with her radiant technique and a stage warmth, beautifully echoes the legacy of Roberta Marquez—who, for me, remains the definitive Aurora of the Royal Ballet.

I recall vividly the season of March 2004, when I had the privilege of seeing four different world-class 'superstar' interpretations of The Sleeping Beauty. Thursday Marianela Núñez, Saturday , Cojocaru , remplaced Bussell, evening Rojo. and Sunday, the first time I saw Roberta Márquez. While each was exceptional, it was Roberta who captured my heart with her unique luminosity. Seeing Mayara Magri today brings back that same magnetic presence; she has the theatrical instincts to make every moment count in the complex role of Marie Larisch—a character who is manipulative, perceptive, and deeply entangled in the tragic fate unfolding around Rudolf."

The cast surrounding them is equally distinguished.

Kristen McNally appears as Empress Elisabeth, bringing gravitas and emotional subtlety to this complex maternal figure.

Meaghan Grace Hinkis dances Princess Stephanie, Rudolf’s ill-fated wife, a role that demands sensitivity and quiet dramatic strength.

Mariko M. Sasaki appears as Mitzi Caspar, one of the ballet’s most intriguing personalities, while Luca Acri brings vitality to the role of Bratfisch.

The elegant Catherine Carby completes the dramatic tapestry as Katherine Schratt.

Musically, the evening will be conducted by Martin Georgiev, leading the magnificent Orchestra of the Royal Opera House, with concert master Magnus Johnston, ensuring that the sweeping and dramatic score supports every emotional turn of MacMillan’s choreography.

When a ballet of this scale is paired with artists of this calibre, the result is more than a performance — it becomes an experience. And with so many extraordinary casts throughout the run, the truth is simple: every night of Mayerling offers something worth seeing.

Choosing only one date may be difficult… but what a wonderful problem to have.

The Principal Couples of Mayerling – Royal Ballet 2026

Matthew Ball & Melissa Hamilton

(30 March, 4 and 9 April)

This pairing promises one of the most visceral interpretations of the ballet. Matthew Ball is widely admired for his powerful acting instincts — his Rudolf often feels almost cinematic in its psychological intensity. He has the rare ability to inhabit a character so completely that the audience experiences the drama as if unfolding in real time.

Alongside him, Melissa Hamilton brings a striking physicality and extraordinary flexibility that makes MacMillan’s daring choreography appear almost perilous. Her Mary Vetsera can feel fearless, obsessive, and utterly consumed by passion.

Together they create a partnership that feels raw, dangerous, and emotionally exposed — a portrayal that highlights the destructive energy at the heart of the story.

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Vadim Muntagirov & Akane Takada

(7 and 25 April, 16 May)

If some casts emphasize the ferocity of the drama, this partnership represents refinement and classical purity. Vadim Muntagirov, one of the most elegant male dancers of his generation, brings a remarkable sense of line, musicality, and aristocratic poise to Rudolf. His interpretation often leans toward melancholy and inner turmoil rather than outward aggression.

Akane Takada, with her crystalline technique and delicate lyricism, complements this interpretation beautifully. Her Mary Vetsera can appear almost ethereal at first glance, which makes the unfolding tragedy all the more poignant.

Together they offer a reading of Mayerling that feels almost imperial in tone — graceful, aristocratic, and quietly heartbreaking.

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Ryoichi Hirano & Natalia Osipova

(11 and 25 April, 9 May)

This is the cast for those who crave pure dramatic electricity. Natalia Osipova is legendary for the fearless way she throws herself into a role, dancing as though the emotional stakes were life and death. Her Mary Vetsera becomes a whirlwind of obsession and reckless devotion.

Opposite her, Ryoichi Hirano provides a commanding and deeply grounded Rudolf. His presence on stage has an intensity that balances Osipova’s explosive energy, creating a partnership that feels almost volcanic.

When these two artists meet on stage, the result is rarely subtle — but it is always unforgettable.

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Marcelino Sambé & Francesca Hayward

(29 April, 4 and 18 May)

This pairing brings a different energy to the ballet: youth, spontaneity, and vibrant chemistry. Marcelino Sambé is one of the most charismatic dancers in the company, known for his athletic brilliance and expressive warmth.

Francesca Hayward, with her luminous stage presence and musical sensitivity, brings a delicate emotional clarity to Mary Vetsera. The two dancers share a natural rapport that translates into an unusually fluid and organic partnership.

Their interpretation often feels faster, lighter, and more impulsive — as if we were witnessing two young people swept up in a destiny they cannot escape.

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William Bracewell & Fumi Kaneko

(2 April, 11 and 16 May)

This pairing is distinguished by its lyricism and psychological detail. William Bracewell is a deeply thoughtful interpreter whose dancing combines technical clarity with remarkable dramatic nuance. His Rudolf often reveals the fragile mind behind the prince’s destructive behaviour.

Fumi Kaneko, admired for her immaculate technique and exquisite musicality, brings elegance and precision to every moment on stage. Her Mary Vetsera can appear both radiant and hauntingly vulnerable.

Together they offer an interpretation that is introspective and beautifully sculpted, revealing the emotional layers beneath the ballet’s turbulent surface.

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In a ballet as complex as Mayerling, there is no single definitive interpretation. Each cast reveals a different emotional landscape: raw intensity, aristocratic tragedy, explosive drama, youthful passion, or lyrical introspection.

Perhaps the greatest luxury of this Royal Ballet run is precisely this: the opportunity to experience the same masterpiece through the artistry of so many extraordinary dancers.

And if choosing only one performance feels impossible… that may simply mean the ballet lover’s instinct is correct.