
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
BALLET IN TWO ACTS
Friday 20 February 2026 7.30pm
The 618th 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.
The performance lasts approximately 2 hours 15 minutes, including one interval
55 minutes
25 minutes
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.
Marius Petipa
Jean Coralli
Jules Perrot
Adolphe Adam
Lars Payne
Théophile Gautier
Heinrich Heine
Peter Wright
John Macfarlane
Jennifer Tipton
David Finn
Christopher Carr
Samantha Raine
Samira Saidi
Zhan Atymtayev
Sian Murphy
Gregory Mislin
Alexander Agadzhanov
Leanne Benjamin
Darcey Bussell
Stuart Cassidy
Helen Crawford
Olga Evreinoff
Monica Mason
Isabel McMeekan
Christopher Saunders
Edward Watson
Daniel Kraus
Julia Grundy
Jonathan Nash
16 February 2026
Fumi Kaneko
Vadim Muntagirov
Téo Dubreuil
A forester
Aiden O'Brien
Albrecht’s squire
Christina Arestis
Giselle’s Mother
Thomas Whitehead
Olivia Cowley
His daughter
James Large
Meaghan Grace Hinkis
Luca Acri
Viola Pantuso
Denilson Almeida
Ella Newton Severgnini
Martin Diaz
Artists and Actors of The Royal Ballet
Julia Roscoe
Queen of the Wilis
Leticia Dias
Myrtha’s attendant
Isabel Lubach
Myrtha’s attendant
Artists of The Royal Ballet
Students of The Royal Ballet School appear by kind permission of the Artistic Director, Iain Mackay
Vello Pahn
Orchestra of the Royal Opera House
Melissa Carstairs
Kevin O’Hare CBE
Koen Kessels
Sir Wayne McGregor CBE
Christopher Wheeldon OBE
Heather Baxter
Christopher Saunders
Shane Kelly
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
Parental guidance recommended
Some of the characters in this performance experience the challenges of mental health.
Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing TrustGenerous philanthropic support from Alex and Elena Gerko, Kenneth and Susan Green, Sandra and Anthony Gutman, Lindsay and Sarah Tomlinson, Doug and Ceri King, Philipp Freise, John and Susan Burns, the Fonteyn Circle and the Royal Opera House Endowment FundThe 2025/26 Royal Ballet Season is generously supported by Aud JebsenThe role of Giselle is supported by Stuart and Jill Steele and Pippa LewingtonThe role of Myrtha is supported by Emma Gilbey Keller
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.
For people, not profit.
rbo.org.uk/donate
Royal Opera House Covent Garden Foundation, a charitable company limited by guarantee incorporated in England and Wales (Company number 480523) Charity Registered (Number 211775)