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Articles tagged with "history"

Rachmaninoff's dark side: Can great artistry exist without the agony of perfectionism?

26 January 2016

Rachmaninoff’s music is adored the world over, but he was plagued with self-doubt.

Iced Gems: Remembering the Royal Opera House’s indoor ice-skating rink

19 January 2016

In the 1930s, long before on-ice theatre adaptations became an arena staple, the ROH had its own skating rink.

The Real Traviata: The tragic true story that inspired La traviata

15 January 2016

The life of courtesan Marie Duplessis and her early death from consumption inspired several works of art, including Verdi's famous opera.

How the ROH Costume department create Tudor costumes for Elizabeth that are light enough to dance in

6 January 2016

Head of Costume Fay Fullerton on the challenges of re-creating Elizabethan costumes for 21st-century ballet.

Opera Essentials: Tosca

31 December 2015

Our quick introduction to Puccini’s (not so) ‘shabby little shocker’, which features some of the composer’s most evocative music.

A happy marriage despite a fiery courtship: Cavalleria rusticana and Pagliacci

2 December 2015

Fierce competition may have fuelled the composition of these two operas, but together they now make one of opera’s most popular couplings.

Watch: Semyon Bychkov on Eugene Onegin – ‘The story that touches everyone’

23 November 2015

The acclaimed Russian conductor explores his personal response to this great Russian opera, one of his ‘first operatic loves’.

Opera Essentials: Cavalleria rusticana / Pagliacci

20 November 2015

Our quick introduction to this classic pairing of two highly dramatic Italian operas.

ROH Collections Item of the Month: The Attilio Comelli Design Collection

19 November 2015

This extensive and beautiful collection from a pioneer of opera costume design gives an invaluable insight into the history of stagewear.

A Much-Loved Classic: Why Ashton’s The Two Pigeons is making a long-awaited return to the stage

16 November 2015

Our audiences have pushed for a revival of this two-act work more than any other Ashton ballet, but what makes it so loved?

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