Royal Danish Theatre tickets 14 September 2025 - Premiere Written on Skin | GoComGo.com

Premiere
Written on Skin

Royal Danish Theatre, The Old Stage, Copenhagen, Denmark
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3 PM
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US$ 95

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Copenhagen, Denmark
Starts at: 15:00
Duration: 1h 40min
Sung in: English
Titles in: Danish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Bass-Baritone: Daniel Okulitch (Protector)
Conductor: Evan Rogister
Soprano: Gisela Stille (Agnès)
Tenor: Jacob Skov Andersen (Third Angel / John)
Mezzo-Soprano: Mathilda Sidén Silfver (Second Angel / Marie)
Countertenor: Morten Grove Frandsen (First Angel / The Boy)
Creators
Composer: George Benjamin
Director: Katie Mitchell
Librettist: Martin Crimp
Overview

Hailed by international critics as “a musical masterpiece” and “one of the finest operas of the 21st century,” this acclaimed work now comes to Denmark.

Inspired by a brutal 14th-century tale from The Decameron, composer George Benjamin has created a harrowing opera about a man in power—and what happens when that power is challenged.

A young artist is commissioned to immortalise a family’s life and deeds in an illuminated book. The husband rules his household and those around him with cold authority, but the young artist’s presence disrupts the balance, and the wife embarks on a passionate affair with him. She sets them all on a path to destruction when she demands that he depict their love in one of the book’s illustrations. The husband—ironically named The Protector—takes cruel revenge.

George Benjamin composed Written on Skin for the Aix-en-Provence Festival in 2012. Since then, the opera has been performed worldwide and hailed as a modern masterpiece. With music of explosive intensity and sensuality, Benjamin, together with Martin Crimp’s strikingly poetic libretto, creates a mesmerising and distinctive universe.

Acclaimed British director Katie Mitchell stages this celebrated production, with Reumert Award-winning soprano Gisela Stille performing the role of Agnès. Countertenor Morten Grove Frandsen joins the cast as The Boy.

In collaboration with Festival d’Aix-en-Provence, Dutch National Opera, Opéra National du Capitole de Toulouse, and the Royal Opera House, Covent Garden, London.

History
Premiere of this production: 07 July 2012, Aix-en-Provence Festival

Written on Skin is an opera by the British composer George Benjamin, with a libretto written by Martin Crimp. The libretto by Martin Crimp, who also wrote the libretto for Benjamin's first opera Into The Little Hill, is based on legend of the troubadour Guillaume de Cabestanh; the story is also repeated in The Decameron of Giovanni Boccaccio. The action takes place in 13th-century Provence.

Synopsis

Part I

Scene 1: Chorus of Angels.
The chorus takes us back to 800 years ago, when books were "written on skin," and introduces the protagonists: the Protector (a wealthy landowner) "addicted to purity and violence" and Agnès, his wife, his "property." One of the angels transforms into the Boy, a manuscript illuminator.

Scene 2: The Protector, Agnès and the Boy
The Protector asks the Boy to create a book celebrating his life, showing his enemies in Hell and his family in Paradise. The Boy shows the Protector a sample of his work. Agnès distrusts the Boy and is skeptical of the creation of images picturing their lives, but her objections are overruled by the Protector.

Scene 3: Chorus of Angels
The Angels recall the brutality of the biblical story of Creation and its hostility toward women.

Scene 4: Agnès and the Boy
Unknown to her husband, Agnès visits the Boy's workshop to see how a book is made. When the Boy shows a picture of Eve, Agnès laughs and challenges him to make an image of a real woman, one that he could want sexually.

Scene 5: The Protector, John, and Marie
With the approach of winter, the Protector ruminates on Agnès's changed demeanor. She hardly talks or eats, turns her back on him, and pretends to sleep at night. Marie and John (Agnès's sister and brother-in-law) arrive for a visit. Marie is skeptical of the idea of writing a book and questions why the Boy is treated like a member of the family. This arouses the Protector's anger: he defends the Boy and his book, and threatens to forbid Marie and John from entering his property.

Scene 6: Agnès and the Boy
That night, the Boy visits Agnès in her room alone and shows a picture of the kind she wished for. At first not recognizing it, she gradually realizes the painted image, of a woman on a bed, is of her. They look at the picture together and Agnès offers herself to the Boy.

Part II

Scene 7: The Protector's bad dream
The Protector dreams that his people are rebelling against the book, and that there are rumors of a secret page where Agnès is shown gripping the Boy in bed.

Scene 8: The Protector and Agnès
The Protect wakes up from the dream and reaches for Agnès, who is standing by the window watching the Protector's men burn villages. She asks her husband to touch and kiss her but he is disgusted by her request and says that it results from her childishness. Angered at being called a child, Agnès challenges her husband to go to the Boy and "ask him what I am."

Scene 9: The Protector and the Boy
In the woods, the Protector confronts the Boy and asks who he is sleeping with and whether it's Agnès. Wanting to protect Agnès, the Boy lies and says he is sleeping with Marie. Satisfied, the Protector returns to the house and tells Agnès that the Boy is sleeping with "that whore your sister."

Scene 10: Agnès and the Boy
Believing the Protector's story, Agnès accuses the Boy of betraying her, but the Boy explains he lied to protect her. Agnès says he was only protecting himself. She tells the Boy that if he really loved her, he would tell the truth and punish the Protector for treating Agnès like a child. She demands that the Boy create an image that will destroy the husband's smugness.

Part III

Scene 11: The Protector, Agnès and the Boy
The Boy shows the Protector and Agnès some pages from the manuscript, including images of atrocities. The Protector asks to see images of Paradise, but the Boy responds that these images are Paradise and questions whether the Protector sees his own family and property in them. Agnès then asks to be shown the images of Hell. The Boy presents her with a page of writing, frustrating Agnès because, as a woman, she has never been taught how to read. The Boy leaves, leaving the Protector and Agnès with this "secret page."

Scene 12: The Protector and Agnès
The Protector reads the "secret page." The Boy has written a detailed description of his relationship with Agnès. This makes the Protector furious, but satisfies Agnès because it shows the Boy did exactly what she wanted. Ignoring her husband's anger, she asks him to show her the word for love.

Scene 13: Chorus of Angels and the Protector
The Angels describe the cruelty of a God who creates man with conflicting desires, making him "ashamed to be human." The Protector goes into the woods and murders the Boy.

Scene 14: The Protector and Agnès
The Protector attempts to reassert control over Agnès. Sitting at a long table, she is forced to eat a meal to prove her obedience. The Protector repeatedly asks her how the food tastes and is infuriated by her response that it tastes good. He then reveals that she has eaten the Boy's heart. Agnès proclaims that no act of violence will remove the taste of the Boy's heart from her mouth.

Scene 15: The Boy/Angel 1
The Boy reappears as the Angel and shows one more picture: Agnès, suspended in midair. The Protector had rushed at her with the intent of killing her, but before he could, she took her own life by jumping from the balcony. Three angels painted in the margin turn to the audience.

Venue Info

Royal Danish Theatre - Copenhagen
Location   August Bournonvilles Passage 2-8

The Royal Danish Theatre is the major opera house in Denmark. It has been located at Kongens Nytorv in Copenhagen since 1748, originally designated as the king's theatre but with public access. The theatre presents opera, the Royal Danish Ballet, classical music concerts (by the Royal Danish Orchestra, which dates back to 1448), and drama in several locations.

The Royal Danish Theatre organization is under the control of the Danish Ministry of Culture, and its objectives are to ensure the staging of outstanding performances that do justice to the various stages that it controls.

The first edifice on the site was designed by court architect Nicolai Eigtved, who also masterminded Amalienborg Palace. In 1774, the old theatre seating 800 theatergoers were reconstructed by architect C.F. Harsdorff to accommodate a larger audience.

During the theatre's first seasons the staffing was modest. Originally, the ensemble consisted of eight actors, four actresses, two male dancers, and one female dancer. Gradually over the following decades, the Royal Danish Theatre established itself as the kind of multi-theatre we know today, home to drama, opera, ballet, and concerts – all under the same roof and management.

An important prerequisite for the theatre's artistic development is its schools. The oldest is the ballet school, established at the theatre in 1771. Two years later, a vocal academy was established as a forerunner for the opera academy. A number of initiatives were considered regarding a drama school, which was established much later.

King Frederik VI, who ascended the throne in 1808, is probably the monarch who most actively took part in the management of the Royal Danish Theatre, not as an arbiter of taste but as its supreme executive chef.

The theatre's bookkeeping accounts of these years show numerous endorsements where the king took personal decisions on everything from wage increases and bonuses to the purchase of shoelaces for the ballerinas. Indeed, the Royal Danish Theatre became the preoccupation of an introverted nation, following the English Wars had suffered a state bankruptcy. "In Denmark, there is only one city and one theatre," as philosopher Søren Kierkegaard put it.

This was the theatre to which the 14-year-old fairytale storyteller Hans Christian Andersen devoted his early ambition. This was also the theatre that became the social and artistic focal point of the many brilliant artists of Denmark's Golden Age.

After the abolition of absolute monarchy in 1849, the Royal Danish Theatre's status as "the city's theatre" fell into decline. No longer enjoying a monopoly within the performing arts, the Royal Danish Theatre was now required by its new owner, the state, to serve the entire nation. The dilapidated building at Kongens Nytorv also found it hard to compete with the splendor of the new popular stage that was rapidly emerging across town. The solution was to construct a brand new theatre building. It was designed in the Historicist style of the times by architects William Dahlerup and Ove Pedersen and situated alongside the old theatre, which was subsequently demolished.

The inauguration of what we today call the Old Stage took place on 15 October 1874. Here opera and ballet were given ample scope. But due to the scale of the building, the auditorium was less suited for spoken drama, which is why a new playhouse was required.

The Royal Danish Theatre has over the past decade undergone the most extensive transformation ever in its over 250-year history. The Opera House in Copenhagen was inaugurated in January 2005, donated by the AP Møller and Chastine Mc-Kinney Møller Foundation, and designed by architect Henning Larsen. And the Royal Danish Playhouse was completed in 2008. Located by Nyhavn Canal across from the Opera House, the playhouse is designed by architects Boje Lundgaard and Lene Tranberg.

Today, the Royal Danish Theatre comprises the Old Stage, located by Kongens Nytorv, the Opera House, and the Royal Danish Playhouse. 

Important Info
Type: Opera
City: Copenhagen, Denmark
Starts at: 15:00
Duration: 1h 40min
Sung in: English
Titles in: Danish
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