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The Royal Opera
Music Director
Jakub Hrůša
Director of Opera
Oliver Mears

Ariodante

Opera Seria in Three Acts

Cast sheet

Friday 19 December 2025

|

6.30pm

The 5th 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.

Exceptional philanthropic support from Royal Ballet And Opera Principal Julia Rausing Trust

Generous philanthropic support from Philipp Freise, Charles Holloway OBE, Dame Tina Taylor Dbe and Kathryn Uhde

The words Rolex in green capital letters with a gold crown sitting above the words

Principal Partner, The Royal Opera

A co-production with Opéra National du Rhin and Opéra de Lausanne

Approximate timings

The performance will last approximately 3 hours and 55 minutes, including two intervals
Act I
60 minutes
Interval
25 minutes
Act II
65 minutes
Interval
25 minutes
Act III
60 minutes
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

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

Princess Ginevra is blissfully happy in the luxury of the royal palace: she is in love with Ariodante and is about ...

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.
Further information

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.

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.

We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.

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