Matthew Ball

The young Clara creeps downstairs on Christmas Eve to play with her favourite present – a Nutcracker. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure. After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to a wonderful display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?

Tita, who lives on a ranch in Mexico, falls in love with a boy, Pedro, who lives nearby; but when they want to get married, Tita's family prevents it, because she must remain single to take care of her mother.

The Dream: Frederick Ashton’s delightful interpretation of Shakespeare’s A Midsummer Night’s Dream is a classic of The Royal Ballet’s repertory. Symphonic Variations: Ashton was inspired to create a ballet on the four seasons – but as he began to choreograph he refined and purified until the ballet shook off its original meaning, emerging as an abstract celebration of movement and physicality. Marguerite and Armand: Marguerite, a Parisian courtesan, lies on her deathbed. She recalls her tragic love affair with Armand in a series of feverish flashbacks.

The first revival of Wayne McGregor’s critically acclaimed ballet triptych to music by Max Richter, inspired by the works of Virginia Woolf.

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.

As members of the feuding Capulet and Montague families, Romeo and Juliet should be sworn enemies, but they fall deeply in love and marry in secret. That very day, disastrous circumstances lead Romeo to fight and kill Juliet’s cousin Tybalt, setting off a chain of events that culminate in tragedy.

From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage.

The Royal Ballet presents the world premiere of Cathy Marston's first work for the Company on the Main Stage alongside a revival of Jerome Robbins’s timeless classic of pure dance. The Cellist is a one-act ballet about British cellist Jacqueline du Pré, from her discovery of the cello through her celebrity as one of the most extraordinary players of the instrument to her frustration and struggle with multiple sclerosis. Jerome Robbins's Dances at a Gathering is a fluid exercise in pure dance for five couples, set to piano music by Fryderyk Chopin.

1918 - A woman imagines her lover has returned from the horrors of war in France, remembering moments shared together. A tale of love and loss told through classical ballet.

Christopher Wheeldon's Within the Golden Hour is based around seven couples separating and intermingling, to music by Vivaldi and Ezio Bosso and lit with the rich colours suggested by sunset. In Flight Pattern, Crystal Pite combines Górecki's haunting “Symphony of Sorrowful Songs” with a large dance ensemble to create a poignant and passionate reflection on migration. Between them, Medusa is new work inspired by the Greek myth, created for The Royal Ballet by the acclaimed choreographer Sidi Larbi Cherkaoui, which juxtaposes Purcell arias with an electronic score by Olga Wojciechowska.

Manon’s brother Lescaut is offering her to the highest bidder when she meets Des Grieux and falls in love. They elope to Paris, but when Monsieur G.M. offers Manon a life of luxury as his mistress she can’t resist.

Cathy Marston's first work for the Royal Opera House Main Stage is a lyrical memoir of the momentous life of the cellist Jacqueline du Pré, from her discovery of the cello through her celebrity as one of the most extraordinary players of the instrument to her frustration and struggle with multiple sclerosis. Rich and poignant, joyous and tragic, The Cellist draws on the talents of The Royal Ballet's Principals, Character Artists, Soloists and Corps to tell the moving story of the cellist's life. Composer Philip Feeney incorporates some of the most moving and powerful cello music of Elgar, Beethoven, Fauré, Mendelssohn, Piatti, Rachmaninoff and Schubert into an exquisite score that is itself an homage to the cello.

Ashton gracefully reimagines Turgenev's play A Month in the country as a one-act ballet where all the drama unfolds in the family's living room upon the arrival of dashing young tutor. Characters come in and out, their feelings for one another displayed through solos and pas de deux, highlighting Ashton's talent for playing out complex drama through detailed and intricate choreography.

Classical ballet's most powerful tale of love, treachery and forgiveness returns to the Royal Opera House stage

Christopher Wheeldon draws on ancient Greece and reflects on love in Bernstein’s Serenade, after Plato’s ‘Symposium’.

The Royal Ballet celebrates the centenary of Leonard Bernsteins birth with this all-Bernstein collection. The Companys three associate choreographers respond to the varied styles of Bernsteins music in ballets that are lyrical, beautiful, exuberant and moving. Wayne McGregors Yugen is set to Chichester Psalms. In The Age of Anxiety Liam Scarlett responds to Bernsteins eclectic Second Symphony, itself a response to W.H. Auden's poem. Corybantic Games by Christopher Wheeldon responds to the Serenade after Platos Symposium.

The Royal Ballet’s dazzling Principals lead an evening not to be missed, their sparkling talents a perfect fit for a diamond anniversary. Celebrating the 60th anniversary of The Friends of Covent Garden, this programme recognises the amazing support of all ROH Friends past and present. The showcase will demonstrate the breadth and diversity of The Royal Ballet’s repertory in classical, contemporary and heritage works. It will also include world premieres by Pam Tanowitz, Joseph Toonga and Valentino Zucchetti plus the Company’s first performance of For Four by Artistic Associate Christopher Wheeldon and a performance of George Balanchine’s Diamonds.

Out hunting, Prince Siegfried chances upon a flock of swans. One among them transforms into the beautiful human Odette and he is immediately enamoured. But Odette is bound by a spell which keeps her captive as a swan during the day. Can Siegfried free her? Tchaikovsky’s sensational score combines with the evocative imagination of choreographer Liam Scarlett and designer John Macfarlane to heighten the dramatic pathos of Marius Petipa and Lev Ivanov’s quintessential ballet classic. Opening in Spring and returning in Summer, Swan Lake remains to this day one of the best-loved works in the classical ballet canon.

Dance film inspired by the life and work of the artists Camille Claudel and Auguste Rodin.

The rich history of American ballet is celebrated in classic works by George Balanchine and Jerome Robbins, two choreographic giants of the 20th century. Apollo brought Balanchine together for the first time with composer Igor Stravinsky. Their creation for Diaghilev’s Ballets Russes in 1928 remains a masterpiece of neoclassicism in its striking depiction of the young god of music and his three muses. Balanchine’s effervescent Tchaikovsky Pas de Deux breathes life into a long-lost movement from Tchaikovsky’s original score for Swan Lake. Created in 1960 for virtuoso New York City Ballet dancers Violette Verdy and Conrad Ludlow, its thrilling technical challenges are still relished by performers today.