Kenneth MacMillan's powerful evocation of the horrors of war is set to Francis Poulenc's poignant score.
When to see it
Part of a mixed Programme, These works are performed together
A celebration of three defining choreographers of The Royal Ballet: Frederick Ashton, Kenneth MacMillan and Wayne McGregor.
Booking for 7 February 2014 - 15 February 2014 opens
- Booking opens 22 October 2013 at 10.00am for General Public.
- Booking opens 24 September 2013 at 10.00am for Friends of Covent Garden.
- Booking opens 12 September 2013 at 10.00am for Supporting Friends.
- Booking opens 11 September 2013 at 10.00am for Premium 1 Friends.
- Booking opens 10 September 2013 at 10.00am for Premium 2 Friends.
Rhapsody / New McGregor / GloriaFriday 7 February 2014, 7.30pm | Main Stage
Rhapsody / New McGregor / GloriaSaturday 8 February 2014, 1.30pm | Main Stage
Rhapsody / New McGregor / GloriaSaturday 8 February 2014, 7.00pm | Main Stage
Rhapsody / New McGregor / GloriaTuesday 11 February 2014, 7.30pm | Main Stage
Rhapsody / New McGregor / GloriaThursday 13 February 2014, 7.30pm | Main Stage
Rhapsody / New McGregor / GloriaSaturday 15 February 2014, 1.30pm | Main Stage
Poulenc’s Gloria in G major – a setting of the Catholic Mass – accompanies choreography of great beauty.
Gloria by Kenneth MacMillan is a haunting lament for the generation lost in World War I. It was inspired by Vera Brittain’s autobiography Testament of Youth, which recounts the author’s wartime experiences and grief at the loss of her fiancé and brother. The book resonated with MacMillan whose own father was gassed at the Battle of the Somme. Gloria was created for The Royal Ballet in 1980 and is one of the Company’s key works; its depiction of the futility of war is as relevant today as at the time of its creation.
The ballet is set to Gloria in G major by Francis Poulenc – a beautiful score for orchestra, chorus and solo soprano. Against Andy Klunder’s devastated set, resembling no man’s land, MacMillan’s choreography depicts the brutality of conflict: the dancers lower their heads and cover their faces in grief, or fling legs and arms into tortured shapes as if caught in a bomb blast. The work also contains moments of sublime beauty – a pas de quartre seems to recall happier, more hopeful times, providing a counterpoint to the principal trio.
Generous philanthropic support from
Richard and Delia Baker
|Set Designer||Andy Klunder|
|Costume Designer||Andy Klunder|
|Lighting Designer||Bill Besant|
|Lighting Designer||John B Read|