Royal Opera House (Covent Garden) tickets 1 April 2026 - The Turn of the Screw | GoComGo.com

The Turn of the Screw

Royal Opera House (Covent Garden), Linbury Theatre, London, Great Britain
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7:45 PM
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US$ 122

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: London, Great Britain
Starts at: 19:45
Intervals: 1
Duration: 2h 10min
Sung in: English
Titles in: English

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
Creators
Composer: Benjamin Britten
Writer: Henry James
Designer: Michael Levine
Librettist: Myfanwy Piper
Director: Natalie Abrahami
Overview

An operatic ghost story based on a literary classic. Benjamin Britten's adaptation of Henry James’s tense, classic ghost story follows the malign influence of two ghosts on two children whose governess is unable to prevent a final and deadly conclusion.

On an isolated estate, a young governess is tasked with caring for two children, with strict instruction not to contact their guardian. But as the children’s behaviour becomes increasingly unsettling, the governess finds herself alone, and dangerously out of her depth.

Britten's chilling The Turn of the Screw comes to life in an atmospheric new staging created by Natalie Abrahami and Michael Levine. Bassem Akiki conducts the gripping and suspenseful score, whose fragmented themes reflect the Governess' growing disquiet, as she comes to uncover more about the children's behaviour – and what is prompting it. Claustrophobic, psychologically disturbing and even uncomfortably voyeuristic, this new production follows Billy Budd, Death in Venice and Peter Grimes in the cycle of Britten works from The Royal Opera.

History
Premiere of this production: 14 September 1954, Teatro La Fenice, Venice

The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten with a libretto by Myfanwy Piper, "wife of the artist John Piper, who had been a friend of the composer since 1935 and had provided designs for several of the operas". The libretto is based on the novella The Turn of the Screw by Henry James. The opera was commissioned by the Venice Biennale and given its world premiere on 14 September 1954, at the Teatro La Fenice, Venice. The original recording was made during that year, with the composer conducting.

Synopsis

Time: The middle of the nineteenth century
Place: Bly, an English country house

Prologue

A singer known as Prologue tells about a young governess (who remains unnamed throughout the opera) he once knew who cared for two children at Bly House. She had been hired by their uncle and guardian, who lived in London and was too busy to care for them. After hiring her, he laid three stipulations on the Governess: Never to write to him about the children, never to inquire about the history of Bly House, and never to abandon the children.

Act 1

The Governess is apprehensive about her new position. When she arrives at Bly House, the housekeeper, Mrs. Grose, and the children greet her. When the Governess sees Miles, the little boy, their eyes lock and the Governess feels as if she has a strange connection with Miles. Mrs. Grose interrupts their reverie and leads the Governess off to explore the beautiful land around the house. The Governess sings that all her fears are now gone. A letter from Miles' school arrives, advising the Governess that the boy has been expelled but giving no reason. The Governess is sure that Miles, like his sister Flora, is too innocent to have done anything bad enough for expulsion. Encouraged by Mrs. Grose, she decides to ignore the letter.

The Governess sings about her wonderful position at the house and the beautiful children she has in her care. But she is troubled by footsteps she has heard outside her door and cries in the night. Suddenly, she spots a pale-faced man perched on a tower of the house. When the man disappears, she becomes frightened and wonders if she has seen a ghost. Her mind is put at ease by the playing of the children, and their singing of the nursery rhyme "Tom, Tom, the Piper's Son". Later she sees the same man looking in through a window. She decides to ask Mrs. Grose about the man. Based on her description the housekeeper tells the Governess about Peter Quint, the former valet at Bly House. Mrs. Grose implies that Quint may have been a pederast who preyed on Miles, and that he had a sexual relationship with Miss Jessel, the young and beautiful previous governess. Mrs. Grose hints that Miss Jessel, too, had a relationship to the children that seemed inappropriately close. The housekeeper did nothing, since Quint intimidated her, and she explains "it wasn't my place". Miss Jessel left the house and eventually died. Shortly thereafter, Quint died under mysterious circumstances on an icy road near Bly House. The Governess rededicates herself to protecting the children. The next morning, the Governess is teaching Miles Latin, when he suddenly enters into a trance-like state and sings a song, "Malo".

Later that day, the Governess sits by the side of a lake with Flora. Flora recites the names of the seas of the world, finishing with the Dead Sea. Flora's comparison of the Dead Sea with Bly House unsettles the Governess. As Flora plays on the shore with her doll, the Governess suddenly sees a strange woman across the lake who seems to be watching Flora. The horrified Governess realises that the woman is a ghost — the ghost of Miss Jessel, who has returned to claim Flora. The Governess hurries Flora home to safety.

That night, Miles and Flora slip out into the woods to meet Miss Jessel and Peter Quint. The children fantasize about a world where dreams come true. The Governess and Mrs. Grose arrive as the children are about to be possessed, and the spirits depart. Miles sings a haunting song about how he has been a bad boy.

Act 2

The ghosts of Peter Quint and Miss Jessel reappear. They argue about who harmed whom first when they were alive, and accuse one another of not acting quickly enough to possess the children. In her room, the Governess worries about the evil she feels in the house.

The next morning, the family goes to church. The children sing a song which sounds similar to a psalm. Mrs. Grose declares that nothing can be wrong if the children are as sweet as this. The Governess tells her of Miles' unearthly day-dream song and Flora's bizarre behaviour. Alarmed, Mrs. Grose advises the Governess to write to their employer in London. At first, the Governess declines, recalling her employer's admonitions before she took the job. But when Miles mentions the ghosts of Quint and Jessel, the Governess realises things are much more dire than they seem. She resolves to leave Bly House.

After church, the family returns home. The Governess goes into the children's schoolroom where she sees the ghost of Miss Jessel seated at the teacher's desk. The spectre bemoans her fate, and sings about how she suffers in the afterlife. The Governess confronts the spirit, which vanishes. Believing the ghosts may not yet have the upper hand, the Governess changes her mind, deciding to stay at Bly House after all. Instead, she writes to the children's uncle, informing him that she must speak with him.

That night, the Governess tells Miles that she has written to his uncle about the spirits haunting Bly House. She departs. The voice of Quint calls out to Miles, terrifying him. The lights go out, and the ghost hovers over the terrified child. Quint tells Miles to steal the letter. The boy goes to the schoolroom, finds the letter, and takes it back to his room.

The next morning, Miles plays the piano for the Governess and Mrs. Grose. While the Governess is distracted by his performance, Flora slips off to go to the lake. When the two women realise Flora is gone, they search for her. Finding the girl at the lake, the Governess sees the spectre of Miss Jessel nearby—but Mrs. Grose sees nothing. The Governess tries to force Flora to admit that the apparition is there, but Flora denies seeing anything and hurls invective at the Governess. Mrs. Grose, convinced the Governess has gone too far, angrily takes Flora home. The Governess feels betrayed by Mrs. Grose.

That night, Flora begins to rant and rave about committing unspeakable horrors. Mrs. Grose agrees to take Flora away from the house. The housekeeper tells the Governess that the letter was never mailed and that Miles must have taken it. The Governess confronts Miles alone. As she questions him, the ghost of Quint pressures Miles not to betray him. Hysterical, Miles confesses that he took the letter. The Governess demands to know who put Miles up to it. Miles blurts out Quint's name. At the mention of his name, Quint's ghost vanishes and Miles falls dead on the floor. A weeping Governess cradles the dead child in her arms, singing aloud of her grief and wondering if she did the right thing after all.

Venue Info

Royal Opera House (Covent Garden) - London
Location   Bow St, Covent Garden

The Royal Opera House (ROH) is an opera house and major performing arts venue in London and Great Britain. It is the home of The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House.

The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House. Originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later, Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.

The current building is the third theatre on the site following disastrous fires in 1808 and 1856. The façade, foyer, and auditorium date from 1858, but almost every other element of the present complex dates from an extensive reconstruction in the 1990s. The main auditorium seats 2,256 people, making it the third largest in London, and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high. The main auditorium is a Grade I listed building.

The Royal Opera, under the direction of Antonio Pappano, is one of the world’s leading opera companies. Based in the iconic Covent Garden theatre, it is renowned both for its outstanding performances of traditional opera and for commissioning new works by today’s leading opera composers, such as Harrison Birtwistle, Mark-Anthony Turnage and Thomas Adès.

The Royal Ballet is one of the world’s greatest ballet companies. Under the directorship of Kevin O’Hare, the Company unites tradition and innovation in world-class performances at our Covent Garden home.

The Company’s extensive repertory embraces 19th-century classics, the singular legacy of works by Founder Choreographer Frederick Ashton and Principal Choreographer Kenneth MacMillan and a compelling new canon by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon.

The Orchestra performs in concerts of their own, including performances at the Royal Opera House with Antonio Pappano. They have also performed at venues worldwide including Symphony Hall (Birmingham), Cadogan Hall, the Vienna Konzerthaus and on tour with The Royal Opera.

Members of the Orchestra play an active role in events across the Royal Opera House, including working with the Learning and Participation teams. The Orchestra accompanies performances that are streamed all over the world, including through cinema screenings and broadcasts. They appear on many CDs and DVDs including Pappano’s acclaimed studio recording of Tristan und Isolde with Plácido Domingo and Nina Stemme.

The Orchestra of the Royal Opera House was founded in 1946 when the Royal Opera House reopened after World War II.

Important Info
Type: Opera
City: London, Great Britain
Starts at: 19:45
Intervals: 1
Duration: 2h 10min
Sung in: English
Titles in: English
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