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Due to the ongoing effects of closure at the Royal Opera House, information about artists is only updated periodically during this time. We apologise for any inconvenience caused.

Kate Flatt



British choreographer Kate Flatt made her Royal Opera debut in 1984 on Turandot, and has since returned to work on Fidelio (1986), Der fliegende Holländer (1986), Guillaume Tell (1990), Il viaggio a Reims (1992) and Aida (1994) for The Royal Opera, and on Opera North’s production of Gloriana, performed in the Royal Opera House in 1993. She has also choreographed Songs from a Hotel Bedroom in the Linbury Studio Theatre.

Flatt trained at The Royal Ballet School and began her career as assistant choreographer to Leonid Massine. She was in the original creative team for Les Misérables (1985), now performed at the Queen’s Theatre, London, and around the world. Other credits include working with Trevor Nunn and Katie Mitchell at the National Theatre and David Lan at the Young Vic. Opera credits include two award-winning collaborations with Phyllida Lloyd for Opera North (Gloriana and Peter Grimes) and The Carmelites and Carmen for English National Opera. Dance theatre credits include touring productions The Dancing Room (BBC), Soul Play with writer Anna Reynolds and Ballroom of Joys and Sorrows with composer Adriano Adewale.

Flatt was awarded a Rayne Fellowship in 2007, enabling her to research dance in social care. She is a Churchill Fellow and a recipient of an RSA travel bursary, which she used to study traditional dance in Eastern Europe. She teaches movement for opera singers at the Royal College of Music and choreography at The Royal Ballet School, and acts as mentor to a number of emerging choreographers. She maintains a strong interest in world music, travelling and traditional rituals.

News and features

How does The Royal Ballet School create such great choreographers?

24 February 2017
How does The Royal Ballet School create such great choreographers?

Several world-class choreographers began their training with The Royal Ballet School – how do they grow the dance-makers of the future?