Swan Lake

The Sleeping Beauty holds a special place in The Royal Ballet’s repertory. It was the ballet with which the Company reopened the Royal Opera House in 1946 after World War II, its first production at its new home in Covent Garden. Margot Fonteyn danced the role of the beautiful Princess Aurora in the first performance, with Robert Helpmann as Prince Florimund. Sixty years later, in 2006, the original 1946 staging was revived by then Director of The Royal Ballet Monica Mason and Christopher Newton, returning Oliver Messel’s wonderful designs and glittering costumes to the stage.

Classic ballet by Kenneth MacMillan to the music of Prokofiev.

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

Cinderella is helped to the ball by her fairy godmother in The Royal Ballet's version of the classic fairy tale, using Sergei Prokofiev's music and Frederick Ashton's choreography in a comic ballet.

A ballet version of the famous classic by Sergei Prokofiev, with narration by Anthony Dowell, who also dances the role of the Grandfather.

The Prince of the Pagodas is a ballet created for The Royal Ballet by choreographer John Cranko with music commissioned from Benjamin Britten. Its premiere took place on 1 January 1957 at the Royal Opera House, Covent Garden, London, conducted by Britten

A re-staging of the Royal Ballet's 1985 production, with Anthony Dowell - this time as Drosselmeyer - and a new supporting cast. This Royal Ballet production of The Nutcracker (staged by Peter Wright) is a mix of the Balanchine and Vainonen schools of the Nutcracker. The Balanchine version of the Nutcracker emphasizes the child s fantasy: a land of sweets, with comic relief. The Vainonen Nutcracker emphasizes the romantic dreams of an adolescent.

Tchaikovsky's The Sleeping Beauty is one of the best loved of classical ballets, combining in a single work all the enchantment and virtuosity that ballet has to offer. The royal court, the panoramic journey of the Prince to the overgrown castle, and the great celebratory dances of the happy ending (in which other famous fairy-tale figures appear) are all brought to life by the luscious designs of this celebrated production, created in 1946 for The Royal Ballet. The inspired performances of its revival for the 75th anniversary of the Company in 2006, together with a magnificent High Definition recording, make this a superb tribute to The Royal Ballet's unique style and visual splendour.

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Sir Peter Wright’s 1984 version of The Nutcracker for The Royal Ballet, still performed by the Company, stays close to Hoffmann’s original tale. It emphasises Drosselmeyer’s mission to find a young girl – Clara – who can break the curse imposed by the Mouse King on his nephew Hans Peter and thus restore him to human form. References to Nuremberg and German Christmas traditions are present in the settings, with a kingdom of marzipan featured in Act 2.

The untimely death of silent screen star Rudolph Valentino prompts the many women in his past to reminisce about his troubled rise to superstardom.

Nikiya, a temple dancer, is in love with the warrior Solor. The High Brahmin also desires Nikiya, and when she rejects him, he plans to take revenge on Solor. When the High Brahmin tells the Rajah about Solor’s secret love, the Rajah decides that Nikiya, not Solor, should be killed. Princess Gamzatti is to be married to Solor. She overhears and tries to bribe Nikiya to give up Solor, but Nikiya refuses. The Rajah and Gamzatti arrange for Nikiya to be killed by a snake bite during the engagement festivities. Despondent, Solor is filled with remorse and haunted by visions of Nikiya. He cannot complete the wedding ceremony. The gods are angered and destroy the temple with all inside it. In the afterlife, Solor and Nikiya are finally united.

The Tales of Beatrix Potter is a 1992 ballet adapted for stage by Anthony Dowell from the 1971 film The Tales of Beatrix Potter that was choreographed by Frederick Ashton that in turn was based on the children's books by Beatrix Potter.

The Sleeping Beauty holds a very special place in The Royal Ballet’s heart and history. It was the first performance given by the Company when the Royal Opera House reopened at Covent Garden in 1946 after World War II. In 2006, this original staging was revived and has been delighting audiences ever since. Frederick Ashton famously cited the pure classicism of Marius Petipa’s 19th-century ballet as a private lesson in the atmospheric art and craft of choreography. Be swept away by Tchaikovsky’s ravishing music and Oliver Messel’s sumptuous designs with this true gem from the classical ballet repertory.

A Month in the Country is a narrative ballet created in 1976 with choreography by Frederick Ashton, to the music of Frédéric Chopin (three works for piano and orchestra) arranged by John Lanchbery. It is based on the play by Ivan Turgenev of the same name, and lasts for about 40 minutes.

The Royal Ballet's 1980 production of Tchaikovsky's classic ballet.