The Royal Opera
Jakub Hrůša
Music Director
Oliver Mears
Director of Opera
Ariodante
Opera Seria in Three Acts
Sunday 14 December 2025 2.30pm
The 3rd performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.
Approximate Timings
The performance will last approximately 3 hours and 50 minutes, including two intervals
Act I
60 minutes
Interval
25 minutes
Act II
60 minutes
Interval
25 minutes
Act III
60 minutes
A co-production with Opéra National du Rhin and Opéra de Lausanne
Credits
- Music
George Frideric Handel
- Libretto
after 'Ginevra
principessa di Scozia' by Antonio Salvi
based on Ludovico Ariosto's epic poem
'Orlando furioso'
- Conductor
Stefano Montanari
- Director
Jetske Mijnssen
- Set designer
Etienne Pluss
- Costume designer
Uta Meenen
- Lighting designer
Fabrice Kebour
Performance materials for Ariodante edited by Donald Burrows, published by Bärenreiter Verlag, Kassel. Performed by arrangement with Faber Music Ltd, London
Cast
- Ariodante
Emily D'Angelo
- Ginevra
Jacquelyn Stucker
- Polinesso
Christophe Dumaux
- Dalinda
Elena Villalón
- Lurcanio
Ed Lyon
- King of Scotland
Peter Kellner
- Odoardo
Emyr Lloyd Jones
- Actors
Peter Cooney
Hugo Dunkley
Cameron Fuller
Anna Guzak
Cecilia Young
- Children
Arlo Drage
Alicia Freedman
Marco Giuliani
Anthea Milo
Shio Miminoshvili
Chloe Pujade-Lauraine Portocarrero
Bruno Remon Cohen
Magnus Robertson-Jones
Athena Thobani
Isaac Vasunia
Emyr Lloyd Jones is a Jette Parker Artist
Music credits
- Chorus
Royal Opera Chorus
- Chorus Master
Genevieve Ellis
- Chorus Director
William Spaulding
- Orchestra
Orchestra of the Royal Opera House
- Concert Master
Sergey Levitin
Production credits
- Music preparation
Edward Reeve
Christopher Willis
Richard Hetherington*
- Assistant Directors
Jean-François Kessler
Dan Dooner
- Fight Director
Philip D’Orléans
- Langage Coach
Barbara Diana
*The role of Head of Music is supported by Bertrand and Elisabeth Meunier
The Royal Opera
- Patron
HM The King
- Music Director
Jakub Hrůša
- Director of Opera
Oliver Mears
- Director of Casting
Peter Mario Katona
- Associate Director
Netia Jones
- Administrative Director
Cormac Simms
Synopsis
ACT I
Princess Ginevra is blissfully happy in the luxury of the royal palace: she is in love with Ariodante and is about to marry him, with the blessing of her father, the King of Scotland. She bluntly rejects Polinesso, who has long been in love with her and covets the crown. In revenge, Polinesso seduces Ginevra’s younger sister, Dalinda, who loves him madly and spurns Ariodante’s brother, Lurcanio, for him.
INTERVAL
ACT II
Polinesso tells Ariodante that he is Ginevra’s lover. He proves it by appearing to join her in her room for the night, but in reality he is with Dalinda, who has put on Ginevra’s clothes at his request. Deceived by this subterfuge and in despair, Ariodante vows to take his own life, despite his brother’s attempts to reason with him. His disappearance and the rumour of his death plunge the royal family into shock. Lurcanio accuses Ginevra of having been caught with a lover and of being responsible for Ariodante’s suicide. Overcome by grief and disowned by her father, she feels her world begin to crumble.
INTERVAL
ACT III
Dalinda, who has been assaulted and threatened by Polinesso, discovers Ariodante alive. She confesses her part in Polinesso’s plot, revealing Ginevra’s innocence to him. Ginevra continues to proclaim her innocence to her father. With the aim of marrying Ginevra, Polinesso opportunely presents himself as her defender. He engages in a duel with Lurcanio, who mortally wounds him. Ariodante returns to clear Ginevra’s name and encourages his brother to marry Dalinda, who is pardoned by the King. Ginevra and Ariodante are reunited. They all have to face the consequences of these events.
Guidance
Parental guidance recommended
This performance contains depictions of suicide and blood.
Language
Sung in Italian with English surtitles, which are displayed on screens above the stage and around the auditorium.
Generous support from
Exceptional philanthropic support from Royal Ballet And Opera Principal Julia Rausing TrustGenerous philanthropic support from Philipp Freise, Charles Holloway OBE, Dame Tina Taylor Dbe and Kathryn Uhde
Principal Partner, The Royal Opera
Further information
Digital Cast Sheets
We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria.
Guidelines
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
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