What does great art do to our bodies? In an exciting world first, The Science of Opera with Stephen Fry and Alan Davies saw a team of medical scientists from UCL discovering what happens inside us when we go to the opera. Opera lover Stephen Fry took his friend, Royal Opera virgin and QI panellist Alan Davies, to the Royal Opera House. They were hooked up with the latest medical gadgetry to record the physical effects on their bodies of watching Verdi s political masterpiece Simon Boccanegra. The Science of Opera promises some landmark medical discoveries as well as answering some key questions; was Alan Davies won over by opera? Did Stephen Fry get shivers down the spine during the show? Did either of them fall asleep? And what could opera do to you? http://www.roh.org.uk

Join Stephen Fry as he chairs a unique debate to celebrate the bicentenaries of two operatic greats. Find out whether the southern allure of Verdi or the Teutonic genius of Wagner triumph with speakers Norman Lebrecht and Philip Hensher. To illustrate their arguments, the Southbank Sinfonia and conductor Paul Wynne Griffiths perform extracts with singers Dušica Biljelić and John Tomlinson. This debate formed part of the Deloitte Ignite Festival 2013. Entitled Verdi/Wagner and curated by Stephen Fry, the festival celebrates the joint bicentenary of Giuseppe Verdi and Richard Wagner. www.roh.org.uk/deloitteignite

Members of the cast and creative team introduce the main characters of Don Quixote and tell us what makes this new production by Carlos Acosta different from any other. Hear from Carlos Acosta and Marianela Nuñez, who are dancing the lead roles, Director of The Royal Ballet Kevin O Hare, Conductor Martin Yates, Répétiteur Alexander Agadzhanov, Ballet Master Christopher Saunders and Lighting Designer Hugh Vanstone. Find out more at http://www.roh.org.uk/donquixote

Join conductor Mark Elder as he explains how Alban Berg writes for the voice in Wozzeck. With singer James Cleverton and pianist Geoffrey Paterson. Translation by Jonathan Burton. Find out more at www.roh.org.uk/wozzeck

In 1962, a 20-year-old Monica Mason was plucked from the corps de ballet to dance The Chosen One in Kenneth MacMillan s The Rite of Spring. In 2013, a 20-year-old Claudia Dean finds herself in the same situation. Watch Monica and Claudia explore the final solo from the ballet which sees The Chosen One dance herself to death. With pianists Rob Clark and Philip Cornfield

Footwear is essential to ballet, enabling our dancers to give their best performances.Combined with the character shoes, elastic, ribbons and detailing relevant to each production, the total cost for footwear is over £250,000 a year. Please support The Royal Ballet today: http://www.roh.org.uk/pointe The film follows the life of a pointe shoe from the Freed factory to the Royal Opera House stage, and was filmed using a tiny camera attached to the ballet slipper, giving a unique glimpse at life behind the scenes at Covent Garden, including rehearsals for The Nutcracker. It follows films from previous Seasons campaigns, focusing on how the shoes are made, and how dancers prepare footwear for the stage.

First Soloist Hikaru Kobayashi speaks about her interpretation of the role of the Queen of the Wilis in The Royal Ballet s Giselle. The production will be relayed live in cinemas on 27 January 2014. Find your nearest cinema: http://www.roh.org.uk/showings/giselle-2014 A Giselle Digital Guide is available to purchase from the ROH website, containing specially selected films, articles and exclusives to bring you closer to the production: http://www.roh.org.uk/publications/royal-opera-house-guide-to-giselle. Giselle is the quintessential Romantic ballet. It transformed the dance world when it was first performed in Paris in 1841 and remains at the centre of the classical repertory. Although the choreography and designs have undergone many changes over the years, the essence of Giselle remains the same. The Royal Ballet s production uses Marius Petipa s classic version (after the original choreography by Jules Perrot and Jean Coralli), first staged in St Petersburg in 1884. The role of Giselle provides a dancer with many technical and dramatic challenges, from the character s early love to her poignant descent into madness and final gesture of forgiveness from beyond the grave. The first act of the ballet is filled with historical detail and rustic colour. By contrast, the second act (known as the White Act) plunges the audience into an eerie moonlit forest haunted by the ethereal Wilis -- vengeful spirits of young brides who died before their wedding day. With its combination of memorable story and exquisite choreography, Giselle is the perfect way to discover classical ballet.

Royal Ballet Dancer, Gary Avis takes us on a journey through the Royal Opera House and into rehearsals with Peter Wright as the dancers and staff prepare for The Nutcracker. Find out more at http://www.roh.org.uk/nutcracker Pyotr Il yich Tchaikovsky s Nutcracker score was commissioned by the director of the Russian Imperial Theatres, following the resounding success of Sleeping Beauty in 1890. Marius Petipa created the scenario – based on a fairytale by E. T. A. Hoffman – and Lev Ivanov provided the choreography. The Nutcracker was first performed in 1892 at the Mariinsky Theatre in St Petersburg. It initially had a poor reception, but its combination of enchanting choreography and an unforgettable score have since made it one of the best-loved of all ballets. In Peter Wright s classic production, the stage sparkles with theatrical magic – a Christmas tree grows before our eyes, toy soldiers come to life to fight the villainous Mouse King and Clara is whisked to the Land of Sweets on a golden sleigh. Tchaikovsky s score contains some of the best-known melodies in ballet, from the flurrying sounds of the Waltz of the Snowflakes to the dream-like Dance of the Sugar Plum Fairy and the vigorous Russian Dance. Julia Trevelyan Oman s designs draw upon 19th-century images of Christmas, making this a classic production for the festive season.

Producer Peter Wright, Royal Ballet Principals Natalia Osipova, and Carlos Acosta in rehearsals for Giselle. They discuss the story, the characters and why it is such a romantic classic. www.roh.org.uk/giselle A Giselle Digital Guide is available to purchase from the ROH website, containing specially selected films, articles and exclusives to bring you closer to the production: http://www.roh.org.uk/publications/royal-opera-house-guide-to-giselle. Giselle is the quintessential Romantic ballet. It transformed the dance world when it was first performed in Paris in 1841 and remains at the centre of the classical repertory. Peter Wright s production for The Royal Ballet, which had its premiere in 1985, has had more than 550 performances. With its combination of memorable story and exquisite choreography, Giselle is the perfect way to discover classical ballet.

Watch Wayne McGregor rehearse his latest work for The Royal Ballet with dancers Lauren Cuthbertson, Eric Underwood, Natalia Osipova and Edward Watson. Piano - Kate Shipway Discussions of J.S. Bach s The Art of Fugue often explore the intricacies of its structure, and some even suggest that the work was influenced by the Pythagorean theory of numbers -- in particular the pyramidal shape of the tetractys. These ideas inspired Wayne McGregor and Tauba Auerbach, whose choreography and designs for Tetractys --The Art of Fugue reflect the complex geometry of Bach s music. However, while it is fascinating to explore these links, McGregor is keen that the audience see the oneness of his new ballet. In Tetractys, the combination of music, dance and design transcends the codes that fused them together; creating a new, abstract work of art. Find out more at http://www.roh.org.uk

Conductor Nicola Luisotti, Director Kasper Holten, Set Designer Es Devlin and members of the cast, including Malin Byström (Donna Anna), Véronique Gens (Donna Elvira), Elizabeth Watts (Zerlina), Alex Esposito (Leporello) and Mariusz Kwiecien (Don Giovanni) introduce Mozart s Don Giovanni. http://www.roh.org.uk/productions/don-giovanni-by-kasper-holten Mozart s Don Giovanni -- first staged in 1787 -- offers boundless scope for directors. Kasper Holten offers a new interpretation that foregrounds the theme of imagination. Don Giovanni is cast as an artist who seduces an endless stream of women through his ability to create wonderful illusions. His catalogue of sexual conquests is a vain attempt to escape his own mortality and comes at a high price. Holten presents an exciting visual universe that ranges from colourful comedy to exhilarating drama. Set designs by Es Devlin -- who was most recently at Covent Garden with Les Troyens -- and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano, Christian Dior) complete an impressive creative team. The production highlights the beauty and invention of Mozart s dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close.

Christopher Wheeldon on the challenges and the creative processes of creating a ballet adaptation of The Winter s Tale for The Royal Ballet. The music featured in this film was composed by Joby Talbot for The Winter s Tale http://www.roh.org.uk/tale Following his charming Alice s Adventures in Wonderland, and a series of short ballets including Aeternum and Polyphonia, Christopher Wheeldon presents a new full-length work at Covent Garden. He draws on another much-loved work of English literature: The Winter s Tale, Shakespeare s late, great romance. The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret -- and after a statue comes miraculously to life -- the ending is one of forgiveness and reconciliation. Wheeldon continues his highly successful collaboration with designer Bob Crowley and composer Joby Talbot, the team behind Alice, in one of the highlights of The Royal Ballet Season.

Widely regarded as one of the fathers of modern ballet, watch how Carlo Blasis s writings have inspired the ballet techniques of today. With demonstration from Royal Ballet dancer Marcelino Sambé. Piano - Tim Qualtrough.

Juan Diego Flórez in The Royal Opera s production of Gluck s Orphée et Eurydice. Find out more at http://www.roh.org.uk/eurydice The Italian Orfeo ed Euridice was the first of Gluck’s great ‘reform’ operas. In it, he and his librettist Ranieri de’ Calzabigi sought to move away from the complicated plots and ornate music of opera seria, in favour of a ‘noble simplicity’, where music always drives the story. The opera’s premiere at the Vienna Burgtheater on 5 October 1762 was a great success – so much so that Gluck himself revised the opera for the French premiere at the Paris Opéra on 2 August 1774 as Orphée et Eurydice. It is longer, larger and grander; Gluck extended movements, added new ones and revised the orchestration to suit the forces of the Opéra. He also recast the role of Orpheus from alto castrato to the haute-contre of French opera, a very high tenor. The opera remains Gluck’s most popular work, and a landmark in operatic history. Orphée et Eurydice includes some of Gluck’s most loved music, from Orphée’s tender ‘Objet de mon amour’ and ‘J’ai perdu mon Eurydice’ to the spectacular ‘L’espoir renaît dans mon âme’, added for the French premiere. The chorus also assumes a role of great importance, particularly in their roles as the shades and Furies of the underworld. But the opera is perhaps most celebrated for its innovative dance music; two of its many highlights include the ‘Dance of the Furies’ and the ‘Dance of the Blessed Spirits’. In this new production for The Royal Opera, acclaimed choreographer Hofesh Shechter, who made his debut with The Royal Ballet in the 2014/15 Season, makes his operatic debut in collaboration with Associate Director of Opera John Fulljames (La donna del lago, Rise and Fall of the City of Mahagonny).

Yuhui Choe and Alexander Campbell dance Princess Florine and the Bluebird in Act III of The Sleeping Beauty, The Royal Ballet 2011/12. Find out more at http://www.roh.org.uk/sleepingbeauty The Sleeping Beauty holds a special place in The Royal Ballet s repertory. It was the ballet with which the Company reopened the Royal Opera House in 1946 after World War II, announcing its move from Sadler s Wells to Covent Garden. Margot Fonteyn danced the role of the beautiful princess Aurora in the first performance, with Robert Helpmann as Prince Florimund. Sixty years later, in 2006, the original 1946 staging was revived, returning Oliver Messel s wonderful designs and glittering costumes to the stage once again. Marius Petipa s classic 19th-century choreography is combined with newly created sections by Frederick Ashton, Anthony Dowell and Christopher Wheeldon. The ballet contains many memorable moments, from the iconic Rose Adagio, when Aurora meets her four royal suitors, to the vigorous hunting dances and the famous waltz for Aurora and her Prince. Throughout, Pyotr Il yich Tchaikovsky s score conveys passion and intensity.

The world premiere of a new full-length ballet by Artistic Associate Christopher Wheeldon, based on Shakespeare s enduring tale of love, loss and reconciliation. Find out more at http://www.roh.org.uk/tale Following his charming Alice s Adventures in Wonderland, and a series of short ballets including Aeternum and Polyphonia, Christopher Wheeldon presents a new full-length work at Covent Garden. He draws on another much-loved work of English literature: The Winter s Tale, Shakespeare s late, great romance. The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret -- and after a statue comes miraculously to life -- the ending is one of forgiveness and reconciliation. Wheeldon continues his highly successful collaboration with designer Bob Crowley and composer Joby Talbot, the team behind Alice, in one of the highlights of The Royal Ballet Season.

Sarah Lamb, Steven McRae and Alexander Agadzhanov on how technically demanding the two lead roles are in The Sleeping Beauty. Find out more at http://www.roh.org.uk/sleepingbeauty The Sleeping Beauty holds a special place in The Royal Ballet s repertory. It was the ballet with which the Company reopened the Royal Opera House in 1946 after World War II, announcing its move from Sadler s Wells to Covent Garden. Margot Fonteyn danced the role of the beautiful princess Aurora in the first performance, with Robert Helpmann as Prince Florimund. Sixty years later, in 2006, the original 1946 staging was revived, returning Oliver Messel s wonderful designs and glittering costumes to the stage once again. Marius Petipa s classic 19th-century choreography is combined with newly created sections by Frederick Ashton, Anthony Dowell and Christopher Wheeldon. The ballet contains many memorable moments, from the iconic Rose Adagio, when Aurora meets her four royal suitors, to the vigorous hunting dances and the famous waltz for Aurora and her Prince. Throughout, Pyotr Il yich Tchaikovsky s score conveys passion and intensity.

An iconic work, The Sleeping Beauty was the first ballet to be performed at Covent Garden following World War II. Find out more at http://www.roh.org.uk Hear from Monica Mason, Steven McRae, Sarah Lamb and other members of the cast and creative team about the task of restaging a classic. The Sleeping Beauty holds a special place in The Royal Ballet s repertory. It was the ballet with which the Company reopened the Royal Opera House in 1946 after World War II, announcing its move from Sadler s Wells to Covent Garden. Margot Fonteyn danced the role of the beautiful princess Aurora in the first performance, with Robert Helpmann as Prince Florimund. Sixty years later, in 2006, the original 1946 staging was revived, returning Oliver Messel s wonderful designs and glittering costumes to the stage once again. Marius Petipa s classic 19th-century choreography is combined with newly created sections by Frederick Ashton, Anthony Dowell and Christopher Wheeldon. The ballet contains many memorable moments, from the iconic Rose Adagio, when Aurora meets her four royal suitors, to the vigorous hunting dances and the famous waltz for Aurora and her Prince. Throughout, Pyotr Il yich Tchaikovsky s score conveys passion and intensity.

Former Director of The Royal Ballet Anthony Dowell and Former Principal dancer Darcey Bussell discuss Dowell s production of Swan Lake. Find out more at http://www.roh.org.uk/swanlake Swan Lake was Pyotr Il’yich Tchaikovsky s first score for ballet. Its 1877 premiere was poorly received, but it has since become one of the most loved of all ballets. The twinned role of the radiant White Swan and the scheming, duplicitous Black Swan tests the full range of a ballerina s powers, particularly in the two great pas de deux of Acts II and III. Other highlights include the charming Dance of the Little Swans performed by a moonlit lake and sweeping ballroom waltzes in the splendour of the royal palace. Anthony Dowell s glorious interpretation uses classical choreography created by Lev Ivanov and Marius Petipa for the ballet s revised 1895 version. Dramatic costumes emphasize the contrast between human and spirit worlds, while glowing lanterns, shimmering fabrics and designs inspired by the work of Peter Carl Fabergé create a magical setting.

Join renowned Wagnerian soprano Dame Gwyneth Jones as she coaches David Butt Philip playing the part of Siegmund in the Wintersturme from Act 1 of Wagner s Die Walküre. Find out more at www.roh.org.uk