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The Royal Ballet

  • Kevin O'Hare CBE

    Director

  • Dame Ninette de Valois OM CH DBE

    Founder

  • Sir Frederick Ashton OM CH CBE

    Founder Choreographer

  • Constant Lambert

    Founder Music Director

  • Dame Margot Fonteyn DBE

    Prima Ballerina Assoluta

Giselle

BALLET IN TWO ACTS

Saturday 21 February 2026 7pm

The 620th performance by The Royal Ballet 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 lasts approximately 2 hours 15 minutes, including one interval

  • Act I

    55 minutes

  • Interval

    25 minutes

  • Act II

    55 minutes


In his centenary year, we pay tribute to the late philanthropist Paul Hamlyn whose legacy has been life changing for young people’s access to the arts. We dedicate these performances of Giselle to his memory.

Credits

  • Choreography

    Marius Petipa

  • ORIGINAL CHOREOGRAPHY

    Jean Coralli

    Jules Perrot

  • Music

    Adolphe Adam

  • Edited by

    Lars Payne

  • Scenario

    Théophile Gautier

  • Original Scenario

    Heinrich Heine

  • Production and Additional Choreography

    Peter Wright

  • Designer

    John Macfarlane

  • Original lighting

    Jennifer Tipton

  • Lighting re-created by

    David Finn

  • Staging

    Christopher Carr

    Samantha Raine

  • Senior Répétiteur

    Samira Saidi

  • Répétiteurs

    Zhan Atymtayev

    Sian Murphy

  • Senior Benesh Choreologist and Assistant Répétiteur

    Gregory Mislin

  • Principal Coaching

    Alexander Agadzhanov

    Leanne Benjamin

    Darcey Bussell

    Stuart Cassidy

    Helen Crawford

    Olga Evreinoff

    Monica Mason

    Isabel McMeekan

    Christopher Saunders

    Edward Watson

  • Benesh Choreologist

    Daniel Kraus

  • Audio Description

    Julia Grundy

    Jonathan Nash

    16 February 2026

Cast

  • Giselle

    Francesca Hayward

  • Albrecht

    Cesar Corrales

  • Hilarion

    James Hay

    A forester

Act I

  • Wilfred

    James Large

    Albrecht’s squire

  • Berthe

    Elizabeth McGorian

    Giselle’s Mother

  • The Duke of Courland

    Christopher Saunders

  • Bathilde

    Isabel Lubach

    His daughter

  • Leader of the Hunt

    Philip Mosley

  • Pas de six

    Leticia Dias

    Hanna Park

    Harris Bell

    Sumina S. Sasaki

    Francisco Serrano

    Martin Diaz

  • Peasants and Courtiers

    Artists and Actors of The Royal Ballet

Act II

  • Myrtha

    Charlotte Tonkinson

    Queen of the Wilis

  • Moyna

    Olivia Cowley

    Myrtha’s attendant

  • Zulme

    Mica Bradbury

    Myrtha’s attendant

  • Wilis

    Artists of The Royal Ballet

Students of The Royal Ballet School appear by kind permission of the Artistic Director, Iain Mackay

Music and orchestra

  • Conductor

    Vello Pahn

  • Orchestra

    Orchestra of the Royal Opera House

  • Concert Master

    Sergey Levitin

The Royal Ballet

  • Director

    Kevin O’Hare CBE

  • Music Director

    Koen Kessels

  • Resident Choreographer

    Sir Wayne McGregor CBE

  • Artistic Associate

    Christopher Wheeldon OBE

  • Administrative Director

    Heather Baxter

  • Rehearsal Director

    Christopher Saunders

  • Clinical Director Ballet Healthcare

    Shane Kelly

Synopsis

Giselle, a peasant girl, has fallen in love with Count Albrecht, who tells her that he is a villager named Loys. Her superstitious mother, Berthe, hopes that Giselle will marry the forester Hilarion and warns her against Loys. To discourage Giselle, Berthe recounts the legend of the Wilis, ghosts of young women who dance to death any man who crosses their path between midnight and dawn. Giselle disregards her mother and joins in the harvest celebrations with Loys.Wilfred, Albrecht’s squire, warns him that a hunting party is approaching, led by the Duke of Courland and the Countess Bathilde (Albrecht’s future bride). Albrecht hides, but Hilarion has witnessed this meeting and decides to discover the secret of his true identity. The hunting party arrives. Giselle dances for the nobles and tells Bathilde that she too is engaged. The Countess gives her a necklace and asks to rest in Berthe’s cottage. The Duke decides to continue the hunt and leaves a hunting horn so that he and the rest of the party can be recalled when Bathilde wants to rejoin them.Hilarion now appears from Loys’s cottage, having found Albrecht’s sword. It bears the same crest as the hunting horn – this is the evidence he needs. Albrecht returns and Hilarion reveals the truth: that Loys is really Albrecht. He sounds the horn, the hunting party returns and Bathilde, coming out of the cottage, claims Albrecht as her fiancé. The shock is too much for Giselle. In her madness she relives her love for ‘Loys’ and, seizing his sword, she kills herself.INTERVALHilarion keeps vigil by Giselle’s grave, which lies deep in the forest. It is midnight and the Wilis materialize, causing Hilarion to flee in terror. Myrtha, their queen, arrives and summons her Wilis. She initiates Giselle into their rites. Albrecht approaches and lays flowers at Giselle’s grave. When her spirit appears, he follows it into the forest.Hilarion, pursued by the Wilis, is forced into an endless dance. Exhausted, he is driven into the lake and drowns.The Wilis now seek out Albrecht. When Myrtha commands him to dance, Giselle urges him to the safety of the cross. But Myrtha orders Giselle to entice him away by dancing with him, rendering him powerless. Giselle tries to sustain him, but he becomes weaker and weaker as the night progresses. Just as he is about to die, dawn breaks. Daylight destroys the Wilis’ power and they fade away. Giselle returns to her grave, leaving Albrecht sorrowful and alone.— Peter Wright

Guidance

Parental guidance recommended

Some of the characters in this performance experience the challenges of mental health.

Generous support from

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.

Support Us

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.

For people, not profit.

rbo.org.uk/donate

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Royal Opera House Covent Garden Foundation, a charitable company limited by guarantee incorporated in England and Wales (Company number 480523) Charity Registered (Number 211775)