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This event is scheduled to begin at 7.30pm BST on 9 April 2021 and will be available to watch On Demand until 9 May 2021. The performance lasts approximately 1 hour 15 minutes. Suitable for ages 16+. Contains scenes of an adult nature depicting sexual assault, disordered eating, substance abuse, and suicide.
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An audio-described version of this performance will be available from 7.30pm on Friday 16 April.
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Start a conversation: comment on social media with the hashtag #OurHouseToYourHouse to discuss the performance. Follow our main character Anna at @anna.roh21 on Instagram for live updates from the stage throughout the show.
British Director and Jette Parker Young Artist Isabelle Kettle reimagines Kurt Weill and Bertolt Brecht’s darkly satirical operas in a timely comment on gender politics. This production has been created with streaming in mind, building the filming element of the piece into the viewing experience while drawing on choreographer and movement director Julia Cheng’s background in hip-hop, contemporary dance and physical theatre. The Seven Deadly Sins and Mahagonny Songspiel depict a crisis of femininity and a crisis of masculinity respectively.
Opening with The Seven Deadly Sins, Weill’s witty, satirical ballet chanté (sung ballet) is a work in seven scenes, following two aspects of one central character, Anna, as she embarks on a journey that reveals a new sin with every new city. This production calls into question the reality of the women we encounter and the ways in which they are constructed for online consumption.
Mahagonny Songspiel is a concentrated musical and dramatic encapsulation of the story about the rise to prominence and fall into decadence of an imaginary city founded on vice that Weill and Brecht subsequently made into a full-length opera – Rise and Fall of the City of Mahagonny. This production presents rich patrons of capitalism, reminiscent of the family from The Seven Deadly Sins and what they might have become, escaping from their world of responsibilities into an Edenic space, which leaves them reckoning with their own guilt.
Sung in German and English with English subtitles.
Multi-camera Director Peter Jones | Assistant conductor Erika Gundesen | Répétiteur & Pit piano Michael Sikich | Musical Supervision David Gowland | Language coach Katja Parmar | Subtitles Andrew Kingsmill, Magdalena McLean | Assistant directors Harriet Taylor, Ester Rudhart | Stage Management Simon Catchpole, Adam Lawley, Jessica Stanton | Costume Production Manager Sharon Marlowe | Hair and Make-up Melanie Bouvet | Footwear technician Ronald Taylor | Producer Angelique MacDonald | Production Manager Clíona Ní Mhocháin | Royal Opera House Technical & Production Departments | Model Room Draughtsperson Laura Foy | Production Carpenter John Bevan | Grass Supplier WowGrass | Senior Production Co-ordinator Kit Withnail | Head of Film & Broadcast Production Anja Zoll-Khan | Head of Jette Parker Young Artists Programme Elaine Kidd | Director of Opera Oliver Mears
Live performance is a shared experience, and our audiences are at the heart of what we do on our stages, backstage, online, in cinemas and in our communities. This year’s global pandemic has affected all arts organisations across the world. We have lost £3 in every £5 of our income, and any Government loan will take us only part of the way. We need your help to bring artists back to our stages. Please consider making a donation to the Royal Opera House Recovery Campaign.
You can make a donation here.
Generously made possible by Oak Foundation
Streaming generously supported by The Foyle Foundation.