‘Marguerite and Armand’ and ‘Cendrillon’ in streaming from Royal Opera House
The Royal Opera House continues its #OurHouseToYourHouse programming, which features online broadcasts, musical masterclasses, and cultural highlights that can be accessed around the world.
Marguerite and Armand
Friday 15 January at 7pm GMT
From The Royal Ballet, Frederick Ashton‘s Marguerite and Armand, created for Margot Fonteyn and Rudolf Nureyev in 1963, based on La Dame aux camélias. In this recording from 2017, the role of Marguerite is danced by former Principal Zenaida Yanowsky in her final performance with the Company, while Guest Artist Roberto Bolle performs the role of Armand.
Cendrillon
Friday 22 January at 7pm GMT
From The Royal Opera, Massenet’s Cendrillon (Cinderella) with Joyce DiDonato in the title role. Laurent Pelly’s vivacious production sees the fairytale set within a storybook. The cast includes Alice Coote as Prince Charming, Ewa Podleś as Cendrillon’s snobbish Stepmother Madame de la Haltière and Eglise Gutiérrez as a sassy Fairy Godmother (La Fée). Bertrand de Billy conducts. An audio-described stream will be available.
Many other titles are still available via stream.roh.org.uk, including The Royal Opera Christmas Concert, Alice’s Adventures in Wonderland (The Royal Ballet, 2017), and Andrea Chénier (The Royal Opera, 2015).
Graham Spicer, aka ‘Gramilano’, is a writer, director and photographer based in Milan. He was a regular columnist for Opera Now magazine and wrote for the BBC until transferring to Italy. His articles have appeared in various publications from Woman’s Weekly to Gay Times, and he wrote the Danza in Italia column for Dancing Times magazine. Graham was the historical advisor on Codice Carla, the 2023 documentary on Italian ballerina Carla Fracci.
Graham also works as a dance photographer, and his photos have appeared in many books, theatre programmes, and magazines, including Dancing Times, Dance Spirit and Ballet2000, as well as all the major Italian newspapers.
He is a member of the Dance Section of The Critics’ Circle.
