Opera Essentials: Festen

A quick guide to Mark-Anthony Turnage’s bold new opera, based on a cult film, which has its world premiere at the Royal Opera House in 2025.

Christian, the eldest son of Helge, returns home to the family's hotel to celebrate his father’s 60th birthday.  The celebration is full of friends, work colleagues and extended family, including Christian’s sister, Helena, and his estranged brother, Michael. The festivities commence, beginning with the ritual greetings and moving on to the celebratory meal, complete with obligatory sentimental songs, speeches and reminiscence. So far, so familiar. But when Christian rises to honour his father, far from the usual praise, his speech reveals home truths of such shocking brutality that surely nothing will be the same again.

Although the tone is often satirical and comic, Festen, which is based on the award-winning 1998 Danish movie by Thomas Vinterberg, is, at its heart, a searing attack on our capacity for collective denial.

Quick Facts

Answering some of the most asked questions about Festen.

What does Festen mean? 

Festen is the Danish word for 'a celebration'.

How long is Festen? 

The performance lasts approximately 1 hour and 30 minutes with no interval.

Who wrote Festen? 

The music is composed by Mark-Anthony Turnage (Anna Nicole), with a libretto by Lee Hall (Billy Elliot).

What is the story of Festen? 

Festen is an adaption of a film of the same name by Danish filmmaker Thomas Vinterberg.

History

Vinterberg and the Dogme 95 movement

Following its premiere at the Cannes Film Festival in May 1998, Thomas Vinterberg’s Festen was awarded the festival’s prestigious Jury Prize. Only 28 at the time, Vinterberg would go on to direct several critically acclaimed films, including, most recently, Another Round (2020), starring Mads Mikkelsen.

Not only did it launch Vinterberg’s career, Festen also kickstarted the Dogme 95 film movement – a movement whose manifesto was co-authored by Vinterberg and fellow Danish filmmaker Lars von Trier (Breaking the Waves, Dancer in the Dark, Melancholia – all three of which have been adapted into operas). Informed by ten rules, or ‘vows of chastity’, Dogme 95 insisted on authenticity: its aim was to ‘purify’ filmmaking, stripping away artifice to allow greater focus on narrative and performance.

A headshot of Thomas Vinterberg. He is facing the camera and resting his hand on his chin.

Thomas Vinterberg

ON FILMMAKING

'There was a great risk involved in [Dogme] back when we did it, because we basically took away ten of the most prominent tools that you can use in filmmaking. There was a great energy in doing so: it felt almost suicidal, as if we were destroying our careers. It felt like we jumped off a cliff, hand in hand, not knowing if there was water beneath us. And this created a sensational feeling of solidarity.'

Cinematic drama

There are allusions and references to Festen in the HBO series Succession. The pilot episode was named 'Celebration' – a direct reference to the film. The rest of the series uses a similar filming style to Festen and the other films of the Dogme 95 genre.

In 2004, an English language stage adaptation of Festen by David Eldridge had its premiere at the Almeida Theatre. The play has since appeared in the West End and on Broadway. Mark-Anthony Turnage and Lee Hall’s Festen marks the first time Vinterberg’s narrative appears on the operatic stage.

Festen Synopsis

Festen is suitable for ages 16+ The opera contains themes of child sexual abuse, suicide and addiction. It also contains very strong language. There are depictions of racist behaviour and violence.

Characters
The Story

When a wealthy hotel owner gathers friends and loved ones to celebrate his 60th birthday at a family-run hotel in the Danish countryside, his children must confront the pain of their past – and the man responsible.

Synopsis

The events take place in the summer of 1989, at a family-run hotel in the Danish countryside. 

ACT I SCENE I: ARRIVALS
At Helge and Else Klingefeldt’s hotel, friends, business associates and family gather to celebrate Helge’s 60th birthday. The guests herald Helge’s arrival with a Danish birthday song. Helge asks his eldest son, Christian, to say a few words about his recently deceased sister, Linda, at the forthcoming dinner, Christian reassures Helge that he is prepared.

SCENE II: GETTING READY
Christian and Pia go to his room before dinner. Michael and Mette get ready in their room. In the bathroom where Linda died, Helena and Lars find a hidden letter. 

ACT II, SCENE I: THE PARTY
At the dinner party, guests take their seats. Christian begins the evening’s toasts, but rather than honour his father, reveals shocking family secrets. More toasts are made by the family. Christian continues to make the guests confront the truth. Not believing him, Michael and others lock him in the wine cellar to silence him. Michael leads the guests in a song insulting Helena’s boyfriend, Gbatokai. Helena reads aloud the letter found in Linda’s room.

ACT II, SCENE II
Helge hides in the kitchen. Michael finds him for a violent confrontation. Guests continue to party next door. Christian thinks about his dead sister.

ACT III, CODA: THE NEXT MORNING
Guests arrive for breakfast, greeting each other and Helge enters.

Support

The auditorium will stay open for 30 minutes after the end of the performance to allow for private reflection. 

If you’ve been affected by any of the issues raised in Festen, you could consider contacting:

  • NAPAC - National Association for People Abused in Childhood: by telephone on 0808 801 0331 (Monday to Thursday 10am–9pm, Friday 10am–6pm) or by email at support@napac.org.uk
  • Samaritans: by telephone on 116 123

The below full, detailed synopsis contains key plot points and descriptions of what happens in the opera. This includes some content that may cause strong emotional responses. If you would like to avoid plot spoilers, please do not click the '+' signs below.

At the hotel owned by Helge and Else Klingefeldt, Christian, their eldest son is the first to arrive for the 60th birthday party of Helge, the family patriarch. He takes a phone call in reception and talks about how he is now two years sober.

Christian’s estranged younger brother Michael arrives arguing with his wife Mette, and their three children. Lars, the hotel receptionist, tells a frustrated Michael that he’s not on the list because things got out of hand last time he was there.

Shortly after, Christian and Michael’s sister Helena arrives, and immediately rebukes Michael for missing the funeral of their sister – and Christian’s twin – Linda. Helena and Michael begin to argue, before Christian interjects, asking for civility. Else, Helge’s wife and the siblings’ mother, enters, greeting her children before excusing herself to greet the arriving guests.

The guests, who are friends, family and business associates, greet each other, before calling out for Helge. When Helge appears, Helmut, the master of ceremonies, leads everyone in singing a Danish birthday song. Once finished, Helge instructs them to get ready for dinner. As the guests disperse, Helge approaches Christian and asks him to say a few words about Linda during dinner. Christian assures his father that he is prepared. A member of hotel staff, Pia, approaches Christian and flirts with him. Exhausted, Christian suggests they go to his room.

In Michael’s room, the children are jumping on the bed and Mette sends them off to see their Grandpa. In Christian’s room, Pia makes an advance to which he is indifferent. Christian falls asleep. Michael discovers his shoes are missing and he and Mette hurl insults at each other. Helena and Lars arrive in the room where Linda died.

Mette and Michael make up and begin to have sex. Helena and Lars search for any clues Linda may have left them before she died. They find a letter in Linda’s bathroom door.

Ready to return to work, Pia gives Christian a kiss, but he does not wake. Helena begins  to read the letter, but stops, breaking down. Loud bangs on the door interrupt Michael and Mette – their children call out for them. Mette opens the door to them. Helena is in shock. The deceased Linda appears from the bathtub, with her wrists cut. Christian calls for Pia.

Helmut reads a prepared speech to the guests before Helge reflects on his life and his family. In the kitchen, the Chef and his staff prepare to serve the soup. All the guests find their place at the dinner table. Helge asks Michael to behave himself.
One of the servers, Michelle, approaches Michael, and says she needs to talk to him. He rebuffs her. Guests in the dining room remark on how hot it is in there and what kind of soup they are having.

Helmut asks Christian to start off the evening’s toasts. Christian begins, revealing his and Linda’s longstanding sexual abuse at the hands of Helge. The guests are silent, before Christian’s Grandpa stands up and begins his own toast.

Christian leaves and goes to the kitchen. Helena apologises to the guests, asking them not to take Christian seriously. The Chef urges Christian to go back in and continue. Christian goes back into the dining room. The Chef instructs Lars, Pia and Michelle to gather the guests’ car keys, telling them that no one is leaving the celebration.

In the lobby, a Black man, Gbatokai, arrives with his case. Michael intercepts him and makes several racist remarks. Helena enters and kisses Gbatokai, who is her boyfriend. Furious, Michael rebukes Helena for bringing him to their father’s party. Else enters and is introduced to Gbatokai. In the dining room, Christian stands, telling the guests he’d like to apologise. But as he raises his glass, he continues to denounce his father. Helmut proposes a break. Wanting to leave, the guests search for their keys and ask for a taxi. In the dining room, Helge approaches Christian, telling him he doesn’t remember what he is talking about. He tells him to behave himself and that his revelations won’t ruin the party.

As guests return to the dining room for the second course, Michelle pulls Michael aside in the lobby and reveals that she became pregnant after sleeping together the previous year. Michael tells Michelle she’s fired. Michelle slaps him and Michael punches her, before returning to the dining room. More wine is poured for the guests.

Helmut introduces Else to speak. She gives a speech, denying Christian’s accusations and citing his imagination as a child. She asks him to apologise for his speech. Christian refuses to apologise, instead revealing his mother’s complicity in the abuse. Michael grabs Christian, and he and Leif take him out of the room. Their Grandma begins to sing a folk song, but Christian returns to the dining room to say more. Leif and Michael grab Christian, beat him up and lock him in the wine cellar.

Helena and Gbatokai want to know where Michael has put Christian. Michael refuses to tell them. Michael stands up to give a toast, apologises for the previous misunderstanding and then leads the guests in a song insulting Gbatokai. Helena yells at them to stop, but everyone joins in.

Gbatokai confronts Michael then leaves the room with Helena. Pia joins them, and Helena asks her to retrieve her pills from her room. Christian breaks out of the wine cellar. Helmut starts a Conga. Pia brings Helena her wash bag and when taking the pills out to give to her, Linda’s letter falls out. Christian picks the letter up, reads it and passes it to Helena.

As the Conga finishes, Helmut calls for dessert and introduces Helena for the last toast. Helena stands and reads the letter – a suicide note from Linda confirming Helge’s abuse. Michael stands up in anger, finally believing the revelations. Helge asks for Helena to be poured a glass of port, but nobody moves. Christian asks Helge why he did it and is told it was all he deserved. Helge walks out. Helmut instructs everyone to take coffee next door.

Helge hides in the kitchen, but Michael finds him. Michael brutally beats his father, telling him he and Else will never see their grandchildren again. In the lounge, Christian is sitting on the sofa when the deceased Linda appears.

Pictures and Videos

Meet the creatives

Composer: Mark-Anthony Turange

English composer Mark-Anthony Turnage is recognised for his unique contributions to British music over the last three decades. Turnage’s first opera, Greek, established his reputation as an artist forging a path between modernism and tradition, with a blend of jazz and classical styles. He has previously collaborated with The Royal Opera for Anna Nicole (Royal Opera House, 2011) and Coraline (ROH and Barbican Theatre, 2018; tours in Freiburg, Lille, Stockholm and Melbourne). Turnage is Research Fellow in Composition at the Royal College of Music, and is published by Boosey & Hawkes, with works before 2003 published by Schott Music. He was awarded a CBE in the 2015 Queen's Birthday honours. 

Director: Richard Jones

British director Richard Jones has directed operas and plays for the international stage for over thirty years. His most recent productions include The Birthday Party for Theatre Royal Bath and Machinal, Endgame and Pygmalion for the Old Vic Theatre, The Valkyrie and The Rhinegold for English National Opera. He has created many works for The Royal Opera, including Alcina, Samson et Dalila, Lady Macbeth of Mtsensk, L’heure espagnole, The Gambler, Il trittico, Gloriana, Boris Godunov, La bohème and La clemenza di Tito. He has previously collaborated with Mark-Anthony Turnage in the creation of Anna Nicole. He is the winner of nine Olivier awards most recently for Alcina at the Royal Opera House, and three South Bank Show Awards for Katya Kabanova (ROH), the Mastersingers of Nuremberg (English National Opera) and The Rhinegold (ENO). He was awarded a CBE in 2015.  

Designer: Miriam Buether

Miriam Buether is an award-winning stage designer working internationally in theatre, opera and dance. Originally from Berlin, she trained in theatre design at Central Saint Martin’s, London. Recent work includes Kyoto (Royal Shakespeare Company), Stranger Things: The First Shadow (West End), Prima Facie (West End and Broadway), Patriots and Spring Awakening (Almeida), The 47th (Old Vic), To Kill a Mockingbird (Broadway, West End), The Jungle (Young Vic, West End, New York), Akram Khan’s The Jungle Book and Caryl Churchill’s What If If Only (Royal Court). Her opera work includes Aida, Boris Godunov, Anna Nicole and Suor Angelica (The Royal Opera), The Dead City (Die Tote Stadt), La fanciulla del West and Turandot (English National Opera) and The Sacrifice (Welsh National Opera). In 2024 she won the Olivier Award for Best Set Design and the Critics’ Circle Award for Stranger Things: The First Shadow. She received the Evening Standard Best Design Award in 2010 for Earthquakes in London (National Theatre) and Sucker Punch (Royal Court), and again in 2018 for The Jungle.

Ways to watch

Festen is on the Royal Opera House Main Stage from 11–27 February 2025.

  • Main Stage

Festen

  • Opera and Music

Decorum descends into chaos in a new opera by Mark-Anthony Turnage.

A family in a beige room decorated with bunting and balloons for a celebration. An older man sits on a chair surrounded by his family, who are facing away from the viewer.

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