Royal Opera House
The Royal Opera House, Bow Street frontage with Plazzotta's statue, Young Dancer, in the foreground
City of Westminster, London
|Public transit||Covent Garden tube station|
|Designation||Grade I Listed Building|
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House. Originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later, Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.
The current building is the third theatre on the site following disastrous fires in 1808 and 1856. The façade, foyer, and auditorium date from 1858, but almost every other element of the present complex dates from an extensive reconstruction in the 1990s. The Royal Opera House seats 2,256 people and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high. The main auditorium is a Grade I listed building.
- The Davenant Patent 1
- The first theatre 2
- The second theatre 3
- The third theatre 4
- Reconstruction from the 1980s forward 5
- Paul Hamlyn Hall 6.1
- Linbury Studio Theatre 6.2
- High House Production Park (High House, Purfleet) 6.3
- Opera at the Royal Opera House after 1945 7
- Ballet at the Royal Opera House after 1945 8
- Other Uses 9
- See also 10
- References 11
- External links 12
The Davenant Patent
The foundation of the Theatre Royal, Covent Garden lies in the letters patent awarded by Charles II to Sir William Davenant in 1660, allowing Davenant to operate one of only two patent theatre companies (The Duke's Company) in London. The letters patent remained in the possession of the Opera House until shortly after the First World War, when the document was sold to an American university library.
The first theatre
In 1728, John Rich, actor-manager of the Duke's Company at Lincoln's Inn Fields Theatre, commissioned The Beggar's Opera from John Gay. The success of this venture provided him with the capital to build the Theatre Royal (designed by Edward Shepherd) at the site of an ancient convent garden, part of which had been developed by Inigo Jones in the 1630s with a piazza and church. In addition, a Royal Charter had created a fruit and vegetable market in the area, a market which survived in that location until 1974. At its opening on 7 December 1732, Rich was carried by his actors in processional triumph into the theatre for its opening production of William Congreve's The Way of the World.
During the first hundred years or so of its history, the theatre was primarily a playhouse, with the Letters Patent granted by Charles II giving Covent Garden and Theatre Royal, Drury Lane exclusive rights to present spoken drama in London. Despite the frequent interchangeability between the Covent Garden and Drury Lane companies, competition was intense, often presenting the same plays at the same time. Rich introduced pantomime to the repertoire, himself performing (under the stage name John Lun, as Harlequin) and a tradition of seasonal pantomime continued at the modern theatre, until 1939.
In 1734, Covent Garden presented its first ballet, Pygmalion.
- Royal Opera House official website
- Royal Opera House Collections Online (Archive Collections Catalogue and Performance Database)
- Royal Opera House elevation
- The Royal Ballet School official website
- Select Committee on Culture, Media and Sport's 1998 Report on funding and management issues at the Royal Opera House
- Theatre History Articles, Images, and Archive Material
- Allen, Mary, A House Divided, Simon & Schuster, 1998.
- Beauvert, Thierry, Opera Houses of the World, The Vendome Press, New York, 1995.
- Donaldson, Frances, The Royal Opera House in the Twentieth Century, Weidenfeld & Nicolson, London, 1988.
- Earl, John and Sell, Michael Guide to British Theatres 1750–1950, pp. 136–8 (Theatres Trust, 2000) ISBN 0-7136-5688-3.
- Haltrecht, Montague, The Quiet Showman: Sir David Webster and the Royal Opera House, Collins, London, 1975.
- Isaacs, Jeremy, Never Mind the Moon, Bantam Press, 1999.
- Lebrecht, Norman, Covent Garden: The Untold Story: Dispatches from the English Culture War, 1945–2000, Northeastern University Press, 2001.
- Lord Drogheda, et al., The Covent Garden Album, Routledge & Kegan Paul, London, 1981.
- Mosse, Kate, The House: Inside the Royal Opera House Covent Garden, BBC Books, London, 1995.
- Tooley, John, In House: Covent Garden, Fifty Years of Opera and Ballet, Faber and Faber, London, 1999.
- Thubron, Colin (text) and Boursnell, Clive (photos), The Royal Opera House Covent Garden, Hamish Hamilton, London, 1982.
- Further reading
- Banham, Martin The Cambridge Guide to Theatre, Cambridge University Press, 1995 ISBN 0-521-43437-8.
- Jefferson, Alan, Sir Thomas Beecham: a Centenary Tribute, London: Macdonald and Jane's, 1979 ISBN 0-354-04205-X
- Rosenthal, Harold, Opera at Covent Garden, A Short History, London: Victor Gollancz, 1967. ISBN 0-575-01158-0 ISBN 0-575-01158-0
- Sheppard, F.H.W.,(Ed.), Survey of London, Volume XXXV: The Theatre Royal, Drury Lane and The Royal Opera House, Covent Garden, London: The Athlone Press, 1972. ISBN 0-485-48235-5 ISBN 978-0-485-48235-5
- Cited sources
- "Royal Opera House (London)" description on theatrestrust.org.uk Retrieved 10 May 2013
- Admission to the 55 boxes was 5 shillings (1/4 £), half a crown (1/8 £) to the 'pit', and the gallery cost one shilling (1/20 £). A seat on the stage cost ten shillings. It was allowed to send servants to arrive at three to save places on the stage for their masters and mistresses. £115 was taken at the box office on the first night.
- John Rich as Harlequin (PeoplePlayUK – Theatre Museum) accessed 22 July 2008.
- Early ballet history (North Eastern University) accessed 22 December 2006.
- Sheppard, p. 91
- The Old Price Riots (PeoplePlayUK – the Theatre Museum (at the V & A) accessed 1 July 2006.
- Edmund Kean (1789–1833) (NNDB) accessed 22 July 2008.
- Early Pantomime (PeoplePlayUK – the Theatre Museum (at the V & A) accessed 22 July 2008.
- "Boz" (ed.) (Charles Dickens), Memoirs of Joseph Grimaldi, 1853 edition with Notes and Additions by Charles Whitehead, accessed 22 Feb 2007.
- "Theatres Compete in Race to Install Gas Illumination – 1817" (PDF). Over The Footlights. Retrieved 2014-05-20.
- Banham, p. 1026
- History (Royal Opera House) accessed 18 December 2012.
- (in French)Louis-Antoine Jullien accessed 21 Dec 2007.
- 1911)Encyclopædia Britannica (Biography in Louis Antoine Jullien accessed 21 Dec 2007.
- Gordon-Powell, Robin. Ivanhoe, full score, Introduction, vol. I, p. VIII, 2008, The Amber Ring
- "Charles Thomas Lucas at Oxford Dictionary of National Biography". Oxforddnb.com. Retrieved 2013-05-04.
- Reviews, "Drury-Lane Theatre", The Times, 13 December 1858, p. 10.
- Jefferson, p. ?
- Rosenthal, p. ?
- , part 4 of 4Arts Council England annual review 2005 on artscouncil.org.uk Retrieved 10 May 2013
- Royal Opera House case study on carillionplc.com Retrieved 24 March 2012
- Stanhope company website on stanhopeplc.com Retrieved 10 May 2013
- "Royal Opera House launches 'Open Up' project with architects", on architectnews.co.uk
- Elizabeth Hopkirk, "Stanton Williams unveils £37m Royal Opera House revamp", 3 November 2014, on architectnews.co.uk. (with images)
- "£10m pledged to Royal Opera House", 9 May 2007 on news.bbc.co.uk Retrieved 24 March 2012
- Linbury Studio Theatre on londondance.com Retrieved 24 March 2012
- Royal Opera House on everything2.com Retrieved 24 March 2012
- The Linbury Trust on linburytrust.org.uk Retrieved 24 March 2012
- "Thurrock launches new creative and cultural hub", 13 December 2010, East of England Development Agency press release on its website eeda.org.uk Retrieved 9 January 2011
- Information (with illustration) about the Production Park from blog.roh.org.uk Retrieved 25 November 2010
In addition to opera and ballet performances, the Royal Opera House has hosted a number of prestigious events including:
Ballet at the Royal Opera House after 1945
Opera at the Royal Opera House after 1945
Other elements at High House Purfleet include The Backstage Centre, a new technical theatre and music training centre which is run by Creative & Cultural Skills and was formally opened in March 2013, alongside renovated farm buildings. Acme studios opened a complex of 43 artist studios in Summer 2013.
The Royal Opera House opened a scenery-making facility for their operas and ballets at High House Purfleet, Essex on 6 December 2010. The building was designed by Nicholas Hare Architects. The East of England Development Agency, which partly funded developments on the park, notes that "the first phase includes the Royal Opera House's Bob and Tamar Manoukian Production Workshop and Community areas".
High House Production Park (High House, Purfleet)
The venue was constructed as part of the 90s redevelopment of the Royal Opera House. It is named in recognition of donations made by the Linbury Trust towards the redevelopment. The Trust is operated by Lord Sainsbury of Preston Candover and his wife Anya Linden, a former dancer with the Royal Ballet. The name Linbury is derived from the names Linden and Sainsbury. It was opened in 1999 with a collaboration from three Croydon secondary schools (including Coloma Convent Girls' School and Edenham High School) in an original performance called About Face.
The Linbury is most notable for hosting performances of experimental and independent dance and music, by independent companies and as part of the ROH2, the contemporary producing arm of the Royal Opera House. The Linbury Studio Theatre regularly stages performances by the Royal Ballet School and also hosts the Young British Dancer of the Year competition.
The Linbury Studio Theatre is a flexible, secondary performance space, constructed below ground level within the Royal Opera House. It has retractable raked seating and a floor which can be raised or lowered to form a studio floor, a raised stage, or a stage with orchestra pit. The theatre can accommodate up to 400 patrons and host a variety of different events. It has been used for private functions, traditional theatre shows, and concerts, as well as community and educational events, product launches, dinners and exhibitions, etc., and is one of the most technologically advanced performance venues in London with its own public areas, including a bar and cloakroom. 
Linbury Studio Theatre
As well as acting as a main public area for performances in the main auditorium, the Paul Hamlyn Hall is also used for hosting a number of events, including private functions, dances, exhibitions, concerts, and workshops.
The redevelopment of the Floral Hall was originally made possible with a pledge of £10m from the philanthropist Alberto Vilar and for a number of years, it was known as the Vilar Floral Hall; however Vilar failed to make good his pledge. As a result, the name was changed in September 2005 to the Paul Hamlyn Hall, after the opera house received a donation of £10m from the estate of Paul Hamlyn, towards its education and development programmes.
The Paul Hamlyn Hall is a large iron and glass structure adjacent to, and with direct access to, the main opera house building. Historically, it formed part of the old Covent Garden flower market, and is still commonly known as the 'floral hall', but it was absorbed into the Royal Opera House complex during the 1990s redevelopment. The hall now acts as the atrium and main public area of the opera house, with a champagne bar, restaurant and other hospitality services, and also providing access to the main auditorium at all levels.
Paul Hamlyn Hall
In 2014 design work, known as the Open Up Project, began with the aim of improving the entrances, lobby areas and the Linbury Theatre.
Surtitles, projected onto a screen above the proscenium, have been used for all opera performances since they were introduced for schools matinees in 1984. Since the reopening of the theatre in 1999 an electronic libretto system provides translations onto small video screens for some seats, and additional monitors and screens are to be introduced to other parts of the house.
The new building has the same traditional horseshoe-shaped auditorium as before, but with greatly improved technical, rehearsal, office, and educational facilities. Additionally, a new studio theatre, the Linbury, as well as more public space was created. The inclusion of the adjacent old Floral Hall, which had fallen into disrepair and was used as a scenery store before redevelopment, created a new and extensive public gathering place. The venue is now claimed by the ROH to be the most modern theatre facility in Europe.
The design team was led by Jeremy Dixon and Edward Jones of Dixon Jones BDP as architects. The acoustic designers were Rob Harris and Jeremy Newton of Arup Acoustics. The building engineer was Arup with Stanhope as developer.
By 1995, sufficient funds from the Arts Lottery through Arts Council England  and private fundraising had been raised to enable the company to embark upon a major £213 million reconstruction of the building by Carillion, which took place between 1997 and 1999, under the chairmanship of Sir Angus Stirling. This involved the demolition of almost the whole site including several adjacent buildings to make room for a major increase in the size of the complex. The auditorium itself remained, but well over half of the complex is new.
Several renovations had taken place to parts of the house in the 1960s, including improvements to the amphitheatre but the theatre clearly needed a major overhaul. In 1975 the Labour government gave land adjacent to the Royal Opera House for a long-overdue modernisation, refurbishment, and extension. In the early 1980s the first part of a major renovation included an extension to the rear of the theatre on the James Street corner. The development added two new ballet studios, offices, a Chorus Rehearsal Room and the Opera Rehearsal room. Dressing rooms were also added.
Reconstruction from the 1980s forward
Before the grand opening, the Royal Opera House presented one of the Robert Mayer Children's concerts on Saturday, 9 February 1946.
The Royal Opera House reopened on 20 February 1946 with a performance of The Sleeping Beauty in an extravagant new production designed by Oliver Messel. Webster, with his music director Karl Rankl, immediately began to build a resident company. In December 1946, they shared their first production, Purcell's The Fairy-Queen, with the ballet company. On 14 January 1947, the Covent Garden Opera Company gave its first performance of Bizet's Carmen.
During the Second World War the ROH became a dance hall. There was a possibility that it would remain so after the war but, following lengthy negotiations, the music publishers Boosey & Hawkes acquired the lease of the building. David Webster was appointed General Administrator, and Sadler's Wells Ballet was invited to become the resident ballet company. The Covent Garden Opera Trust was created and laid out plans "to establish Covent Garden as the national centre of opera and ballet, employing British artists in all departments, wherever that is consistent with the maintenance of the best possible standards ..."
From 1934 to 1936, Geoffrey Toye was Managing Director, working alongside the Artistic Director, Sir Thomas Beecham. Despite early successes, Toye and Beecham eventually fell out, and Toye resigned.
During the First World War, the theatre was requisitioned by the Ministry of Works for use as a furniture repository.
The theatre became the Royal Opera House (ROH) in 1892, and the number of French and German works offered increased. Winter and summer seasons of opera and ballet were given, and the building was also used for pantomime, recitals and political meetings.
The Royal English Opera company under the management of Louisa Pyne and William Harrison, made their last performance at Theatre Royal, Drury Lane on 11 December 1858 and took up residence at the theatre on 20 December 1858 with a performance of Michael Balfe's Satanella and continued at the theatre until 1864.
On 5 March 1856, the theatre was again destroyed by fire. Work on the third theatre, designed by Edward Middleton Barry, started in 1857 and the new building, which still remains as the nucleus of the present theatre, was built by Lucas Brothers and opened on 15 May 1858 with a performance of Meyerbeer's Les Huguenots.
The third theatre
In 1852, Louis Antoine Jullien the French eccentric composer of light music and conductor presented an opera of his own composition, Pietro il Grande. Five performances were given of the 'spectacular', including live horses on the stage and very loud music. Critics considered it a complete failure and Jullien was ruined and fled to America. Costa and his successors presented all operas in Italian, even those originally written in French, German or English, until 1892, when Gustav Mahler presented the debut of Wagner's Ring cycle. The word "Italian" was then quietly dropped from the name of the opera house.
The Theatres Act 1843 broke the patent theatres' monopoly of drama. At that time Her Majesty's Theatre in the Haymarket was the main centre of ballet and opera but after a dispute with the management in 1846 Michael Costa, conductor at Her Majesty's, transferred his allegiance to Covent Garden, bringing most of the company with him. The auditorium was completely remodelled and the theatre reopened as the Royal Italian Opera on 6 April 1847 with a performance of Rossini's Semiramide.
In 1817, bare flame gaslight had replaced the former candles and oil lamps that lighted the Covent Garden stage. This was an improvement, but in 1837 Macready employed limelight in the theatre for the first time, during a performance of a pantomime, Peeping Tom of Coventry. Limelight used a block of quicklime heated by an oxygen and hydrogen flame. This allowed the use of spotlights to highlight performers on the stage.
Early pantomimes were performed as mimes accompanied by music, but as Music hall became popular, Grimaldi introduced the pantomime dame to the theatre and was responsible for the tradition of audience singing. By 1821 dance and clowning had taken such a physical toll on Grimaldi that he could barely walk, and he retired from the theatre. By 1828, he was penniless, and Covent Garden held a benefit concert for him.
In 1806, the pantomime clown Joseph Grimaldi (The Garrick of Clowns) had performed his greatest success in Harlequin and Mother Goose; or the Golden Egg at Covent Garden, and this was subsequently revived, at the new theatre. Grimaldi was an innovator: his performance as Joey introduced the clown to the world, building on the existing role of Harlequin derived from the Commedia dell'arte. His father had been ballet-master at Drury Lane, and his physical comedy, his ability to invent visual tricks and buffoonery, and his ability to poke fun at the audience were extraordinary.
During this time, entertainments were varied; opera and ballet were presented, but not exclusively. Kemble engaged a variety of acts, including the child performer Master Betty; the great clown Joseph Grimaldi made his name at Covent Garden. Many famous actors of the day appeared at the theatre, including the tragediennes Sarah Siddons and Eliza O'Neill, the Shakespearean actors William Charles Macready, Edmund Kean and his son Charles. On 25 March 1833 Edmund Kean collapsed on stage while playing Othello, and died two months later.
Rebuilding began in December 1808, and the second Theatre Royal, Covent Garden (designed by Robert Smirke) opened on 18 September 1809 with a performance of Macbeth followed by a musical entertainment called The Quaker. The actor-manager John Philip Kemble, raised seat prices to help recoup the cost of rebuilding and the cost of an increased ground rent introduced by the landowner, the Duke of Bedford, but the move was so unpopular that audiences disrupted performances by beating sticks, hissing, booing and dancing. The Old Price Riots lasted over two months, and the management was finally forced to accede to the audience's demands.
The second theatre
rebuilt the auditorium, within the existing shell of the building but deeper and wider than the old auditorium, thus increasing capacity. Henry Holland the architect