Dear audience,

Romeo and Juliet. Tristan and Isolde. Pyramus and Thisbe. Maria and Tony. Bendik and Årolilja. 

The story of lovers who cannot be together recurs across time, languages, and art forms. Yet there is something about Romeo and Juliet that draws us back, again and again. We know the story – and still, each time, we hope that perhaps it might end differently. Perhaps this once, they will find happiness? 

Shakespeare wrote the play, but for me the story of Romeo and Juliet lives in the music. Sergei Prokofiev’s score is extraordinary in its dramaturgy – every feeling and every character is painted through contrast, momentum, and orchestral colour. Bringing that world to life in dance is no simple task, and it is precisely this work that has been at the heart of the process: to create a ballet that is an extension of the music. 

In this world premiere, we let Prokofiev and Shakespeare lead the way, working within the framework of the classical narrative ballet. Choreographer Kaloyan Boyadjiev embraces a large-scale, epic format – one we rarely have the opportunity to develop in new works. It has been more than a decade since we last created a full-length ballet in this tradition, and it places considerable demands on storytelling, structure, and the company as a whole. 

At the same time, there is something about this material that feels inherently suited to dance. Shakespeare’s tragedy holds such powerful emotions, such clear contrasts, and such complex relationships that it almost calls out to be embodied. In dialogue with Prokofiev’s music, a space emerges where movement can express what words cannot – where nuance, tension, and emotional shifts become vividly present. For me, there are few forms that offer a more immediate and profound way into this story than ballet. 

It is also particularly special that our Music Director, Edward Gardner, is conducting ballet for the very first time. Time and again, we have seen him lead singers and orchestra to those rare moments when everything aligns – and now he does so together with the dancers. It has been a joy to have him in the studio, and to experience how he shapes the music in close dialogue with what unfolds on stage. 

Nearly two years ago, Kaloyan Boyadjiev created an award-winning version of Romeo and Juliet for the national ballet in his hometown of Sofia. In our production, he has sharpened the drama and worked closely with the dancers to bring out new layers within the story. Subtle adjustments – particularly in the second act – drive the narrative forward with greater intensity. Not least, he has placed strong emphasis on the fight and fencing scenes, in collaboration with stage combat specialist Kamen Ivanov. The result keeps us on the edge of our seats, hearts racing. 

Although Shakespeare’s Romeo and Juliet draws on earlier sources, it is in his hands that the characters fully reveal their complexity. In this ballet, the choreographer gives Mercutio, Romeo’s closest friend, a distinct and nuanced presence – he is not merely one of the boys, but a figure of depth and maturity. 

The young lovers themselves carry the work. Over the course of just four days, they undergo a profound transformation – from youthful innocence to an all-consuming experience of love and loss. There is something deeply poignant in this, in the meeting between the hope they carry and the pressure placed upon them to uphold their families’ honour. 

This is also a story that continually reinvents itself. From Shakespeare to Zeffirelli, Baz Luhrmann, and West Side Story – each era finds its own version. We, too, have sought to be part of this tradition: to carry it forward while creating something enduring – a production that will speak to audiences for decades to come. 

In developing this production, we have aimed to bring forth a world that is as vivid and beautiful as possible. Set and costume designer Christopher Oram and lighting designer Neil Austin are among the leading artists in the field, recipients of some of the most prestigious international stage awards. Together with our in-house workshops and artistic teams here at the Opera House, they bring Verona to life on stage. 

Romeo and Juliet is an immortal story. It is, without doubt, a tragedy – but it also carries the lightness of comedy, and perhaps that is precisely why it continues to resonate. 

The music leads. 
The story lives within the score. 
In dance, it finds its form. 

And each time we encounter it, we dare to hope again. 

Welcome.