Thomas Vinterberg’s cult film is transformed into a bold new opera in this world premiere.
Decorum descends into chaos in a new Olivier Award-nominated opera by Mark-Anthony Turnage.
by Thomas Vinterberg and Mogens Rukov
Royal Ballet and Opera Principal Julia Rausing Trust
Crevan O'Grady & Jane McClenahan and the Royal Opera House Endowment Fund
The London Community Foundation and Cockayne - Grants for the Arts
When a wealthy hotel owner gathers friends and loved ones to celebrate his 60th birthday, his children must confront the pain of their past – and the man responsible.
To find out more about the production, including key plot points and descriptions of what happens in the opera: read our Festen Opera Essentials page. This includes some content that may cause strong emotional responses.
Decorum descends into chaos in this piercing new opera of trauma and complicity. Acclaimed contemporary composer Mark-Anthony Turnage (Anna Nicole, Coraline) and librettist Lee Hall (Billy Elliott) come together with director Richard Jones (La bohème, Samson et Dalila) to adapt Oscar-winning filmmaker Thomas Vinterberg’s (The Hunt, Another Round) 1998 film. An international cast conducted by Edward Gardner and led by Olivier Award-nominated Allan Clayton, Stéphane Degout and Gerald Finley takes on this operatic world premiere.
The Danish avant-garde film movement Dogme 95 that became infamous within the world of cinema in the late nineties began with Festen (The Celebration), Thomas Vinterberg’s international breakthrough and the source material for composer Mark-Anthony Turnage. With fellow film director Lars von Trier (Nymphomaniac, Melancholia, Breaking the Waves – the latter two adapted into operas), Vinterberg created a manifesto that intentionally mimicked French film auteur François Truffaut’s ‘Une certaine tendance du cinema’, the Cahiers du cinéma article that had launched the French New Wave movement in 1954.
The Dogme 95 rules or ‘vows of chastity’, as named by von Trier and Vinterberg, were to be implemented, first and foremost, to allow traditional storytelling, raw performance style and specific themes greater focus. Elaborate special effects and technology were forbidden, while shooting was to be done on location, in natural light and with hand-held cameras. With this approach, it is perhaps unsurprising that Festen – its damning emotional revelations unvarnished by the artificial devices of popular cinema – is particularly conducive to the more organic and indeed dramatic setting of the stage. Festen has been adapted multiple times for the stage, including for the Almeida Theatre, in the West End and later on Broadway. The libretto for this opera has been adapted and created by Lee Hall, who wrote the screenplay for the film Billy Elliott.
If you’ve been affected by any of the issues raised in Festen, you could consider contacting:
There is lift access and step-free routes to over 100 seats in the Stalls Circle, Balcony and Amphitheatre. There are 10 steps or fewer to some seats in the Stalls Circle, Balcony, Amphitheatre and the Donald Gordon Grand Tier. All seats in the Orchestra stalls are accessed by 9 steps or more. A handheld bell is rung by Front of House staff to signal guests to take their seats before a performance. The bell is loud and can be startling. The bell is rung approximately ten minutes before the show starts and at each interval.
We have an assistive listening system available to use. This opera is sung in English with English surtitles. Captions and translations will be displayed on screens above the stage and around the auditorium.
An Audio Described guide for Festen is available on The Royal Ballet and Opera SoundCloud.
The opera contains themes of child sexual abuse, suicide and addiction. There are depictions of racist behaviour, sex and violence. Strong language is used.
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