In review: 2026 Summer Performance at the Royal Opera House

Saturday 18 July marked the final show of our 2026 Centenary Summer Performance season on the Royal Opera House main stage, following four performances of The Next Generation Festival and Graduate Showcase at the Linbury Theatre in June and five at Opera Holland Park in early July.

The Royal Opera House radiated enthusiasm and awe as the curtains closed on another performance season, captivating a sold-out audience of family, friends, staff, alumni, supporters, ballet enthusiasts and members of the press.

Read more about what the press had to say about our Summer Performance programme:

Next Generation Festival

⭐⭐⭐⭐⭐ Maggie Foyer, Bachtrack

The talent is staggering, and it follows that the nurture and training of this talent is also excellent. Well done to director Iain Mackay and his team.

Opera Holland Park

Georgia Howlett, SeeingDance

The unity and focus of this cohort is testament to world class training, but it is above all the artistry of these devoted students that offers such a joyous watching experience, and I leave with a reinvigorated respect for classical ballet.

Royal Opera House matinée

⭐⭐⭐⭐⭐ Matthew Paluch, Broadway World

Mackay did a frontcloth speech during the performance, and his passion and authenticity filled the auditorium… His story is the larger purpose of the School in a nutshell. A normal young boy, with talent and desire found a place that allowed him to follow his dreams, and he’s now doing the same for all of the present day students. Bravo de Valois – because it’s all down to you Madam.

⭐⭐⭐⭐⭐ Jonathan Gray, Gramilano

With Iain Mackay firmly in charge, I am convinced the excellent standard achieved by the School will continue for many years to come.

⭐⭐⭐⭐⭐ Teresa Guerreiro, London Unattached

I left the RBO with soaring soul and the conviction that British ballet couldn’t be in better hands. Happy Birthday, Royal Ballet School, and here’s to the next 100 years.

⭐⭐⭐⭐⭐ Deborah Weiss, Bachtrack

A triumphant finale to a performance that was brimming with talent and a whole bunch of names to watch out for in the future.

Peter Wright’s Swan Lake Act III

A wide shot of the stage. Centre: the black swan arches back with her right arm straight and next to her head, which gazes straight up. Her right leg is in tendu back. She holds siegfried's hand. With her left as he kneels in front of her. He puts her hand to his cheek. — *Samantha and Fabrizzio as Odile and Prince Siegfried in* Swan Lake Act III

The show opened with a dazzling production of Peter Wright’s Swan Lake Act III, featuring strong soloist roles and thrilling ensemble national dances performed by our Upper School students. Sir Peter himself was in the audience, celebrating his own centenary year.

As the Hungarian Princess, Addison Partlow impressed with her firm dancing and strongly held poses (she joins Birmingham Royal Ballet next season), whilst Emma Lucano bubbled with personality and style as the Polish Princess, and Nanoha Shigeoka (who is joining the Hungarian National Ballet) performed the Italian Princess solo with dazzling speed and dexterity. – Jonathan Gray, Gramilano

Fabrizzio Ulloa Cornejo and Samantha Striplin then both set off fireworks aplenty. Cornejo’s pirouettes were fabulous, not only lightning fast but concluded with the utmost care and finesse. He even outdid Striplin’s fouettés, which included a number of triples. Elsewhere, I was especially taken by Nanoha Shigeoka’s Italian Princess. She produced some exceptionally fast and precise footwork, all while wearing a real-looking smile that suggested she was rather enjoying herself – David Mead, SeeingDance

All impressed, but Ulloa Cornejo was particularly thrilling, because he made every step tell the story of a man in the grip of overwhelming infatuation. The four dancers are part of the graduating group of 30, all of whom have secured employment, be it with The Royal Ballet or with a variety of companies worldwide. – Teresa Guerreiro, London Unattached

Both Odiles mesmerised with breathtaking strength and technique; Striplin astonished with her fouettés, which included multiple double and triple rotations. Malaguti was perfectly princely: dutiful yet distracted; an accomplished partner; attuned to, and natural in, interactions with the royal court. Ulloa Cornejo raised the roof with his thrilling dancing – soaring leaps with feather-light landings and quintuple pirouettes executed with jaw-dropping control. – Georgina Butler, Georgina Butler

Kristen McNally’s Proceedings

In the foreground, a young girl in light grey leggings, a purple leotard and iridescent insect wings on her front and back stands on a bent right leg with her left leg bent at a 90 degree angle. Her right arm is raised front in a similar 90 degree angle. Her left arm hangs loosely to the side. In the background upstage, a young boy stands on his right leg with his left foot crossed over. He wears an oversized coat, indigo tights and a black bowler hat. He tips his hat forward with his left hand and holds a white and red megaphone in his right hand, hanging down by his side. — *William and Darcey-Rose in* Proceedings

Years 7, 8 and 9 shared the stage in a vibrant and charismatic ensemble piece, featuring multicoloured, insect-like costumes.

Proceedings by Kristen McNally is a huge ensemble work full of quirky gestures and wit. Danced to music by Camille Saint- Saëns, the youngsters resembled busy insects. McNally succeeded in showing the everyone in the Lower Schools youngest three years at their best without the stage ever feeling overcrowded. – David Mead, SeeingDance

Completely joyous. – Deborah Weiss, Bachtrack

David Bintley’s Beauchamp’s Garden

A young lady in a pink cap-sleeve leotard and matching short skirt poses in an arabesque on pointe with her right leg raised high behind her. A young man stands behind her in a charcoal grey unitard with both of his arms raised in a v above him. He holds her left hand in his own. He gazes up and smiles while she looks demurely downwards. — *Millán and Alecsia in a pas de deux from* Beauchamp’s Garden

An ensemble of 1st Year students joined two pairs of Pre-professional Year couples in Bintley’s intricate, elegant new work.

Emma Lucano and Ivan Malaguti also shone as a leading couple in David Bintley’s new Beauchamp’s Garden, danced to Poulenc’s Concerto for Two Pianos and Orchestra, as did Alecsia Maria Lazarescu and Millán de Benito (both joining The Royal Ballet). This is a charming neo-classical work, very much in the Royal Ballet traditions of musicality and refinement, speedy footwork and lavish épaulement, and it has a lovely pas de deux for Lazarescu and de Benito. The ensemble dancing was spontaneous, precise and fresh. – Jonathan Gray, Gramilano

Light and very easy on eye and ear, it’s full of interest and an absolute joy to watch. Beauchamp’s Garden may have been created for The Royal Ballet School, but it is very much not a student work; just a very, very good ballet. And one that deserves to be seen again and more widely. Surely a company somewhere will take this up. – David Mead, SeeingDance

Cathy Marston’s A Line in Reflection

Dancers stand in a line at a barre that runs diagonally down the stage. Each dancer has another mirroring them, facing each other on either side of the barre. A light illuminates the centre, resulting in a reflection-like effect. Deborah stands barefoot in first position, watching the students at the barre. She wears a long black dress with short sleeves. The students wear beige leotards or dark brown unitards. — *Baroness Deborah Bull stands in first position with the 2nd Year students in* A Line in Reflection

2nd Year students shone in Marston’s reflective, poignant work, featuring music by Master of the King’s Music Errollyn Wallen CBE. Baroness Deborah Bull, alum and former Principal with The Royal Ballet, returned to the stage alongside our current students.

A Line in Reflection by Cathy Marston is an intelligent work that focuses on the philosophical nature of dance above anything else. The journey; with the artform, with the self and the ever present, pressing time aspect. Any excuse to see Deborah Bull back on the mainstage is worthwhile, and for anyone who has been a dancer, the emotional underpinning of this work is powerful and raw. – Matthew Paluch, Broadway World

Like a remembrance of a past life, Bull touchingly reaches out to the memories of her past as the dancers, unaware of her presence, continue with their activities. At the end, Bull herself is ‘reflected’ by a very young dancer who ‘mirrors’ her movements. It is a tender work, and it was wonderful to see how Deborah Bull, now in her sixties, has lost none of her power as a communicative artist. – Jonathan Gray, Gramilano

Beautiful and sentimental in equal measure. – David Mead, SeeingDance

A tender take on the passing of time. – Georgina Butler, Georgina Butler

Ninette de Valois’s Checkmate Suite

A young lady in a grey unitard with black and white colourblocked triangles on her top poses on pointe in a lunge to the left. Her left leg is bent to the front while her right leg is extended back. Her arms extend in a v to the side, each hand holding silver daggers. She stares intensely at the audience. She wears a chess piece inspired headpiece with angular black and grey sculptural shapes. — *Anna as the Black Queen in* Checkmate Suite

Created in 1937 by Founder Dame Ninette de Valois and composer Arthur Bliss, Checkmate Suite pays homage to the School’s rich choreographic history with endearing red pawns, competitive knights and a menacing Black Queen.

Checkmate Suite was everything you’d wish for in relation to stylised movement. Her idiosyncratic language, one that’s bound in manner, endlessly chic and primarily en face, also inhabits a darker world that’s never made obvious yet is always there. – Matthew Paluch, Broadway World

The Red Pawn ensemble was enchanting, and the quartet of Four Knights – Noah Campbell, Elliott Martin, Yusuke Otake and Denis Teixeira – was one of the strongest I have seen. Best of all was the Red Knight solo, effortlessly taken by Wendel Vieira Teles dos Santos (he joins American Ballet Theatre Studio Company), and the striking Anna Nouvenne (Ballet Zürich Junior Company) as a tremendous Black Queen. It was such a tantalising performance that I longed to see the complete ballet again. – Jonathan Gray, Gramilano

Andrew McNicol’s Of Strength and Grace

Four dancers wear shades of warm brown tones against a vibrant blue backdrop. One couple downstage poses in 4th position; the boy holds the girls waist from behind while they both reach up on a diagonal to the side. The girl is on pointe in skin-tone pointe shoes. She has a long tulle skirt and spaghetti strap leotard. The boy is in skin-tone shoes, brown tights and a brown short-sleeve shirt. The couple in the back lunges forwards on their right legs, with the boy holding the girl's waist from behind. Their arms are extended on a low angle to the side. The girl wears a dark brown leotard and tulle skirt. The boy wears a light mustard yellow short sleeve shirt and tights. — *Max, Juju, Jolie and Cagan in* Of Strength and Grace

Students from Years 10 and 11 impressed in a whisk of earth tones and a flurry of neoclassical movement, featuring strong soloist roles and partnering from the older White Lodge dancers.

Andrew McNicol’s Of Strength & Grace reaffirmed my confidence in his future as a major choreographer. To Edvard Grieg’s music, like Balanchine, he shows his dancers in a fluid, lyrical style – challenging them but never overstretching them. Working with Years 10 and 11, it was hard to believe they were still at White Lodge. – Deborah Weiss, Bachtrack

A work that shows the impressive maturity of the two oldest years at the Lower School. With a caramel palette, subtle tulle and dramatic phrasing I was both intrigued and surprised. – Matthew Paluch, Broadway World

A delightfully fluid and lyrical work of pure dancing. – Georgina Butler, Georgina Butler

Jessica Lang’s The First Voice

Students stand holding each others waist in a curving line. Most face stage left and tilt their heads back. They stand in height order from shortest to tallest, which creates a slight curve up. At the far left, a girl bends her back deeply with her arms above her head. On the right, a boy faces the group and arches back. They all wear loose trousers and long sleeve shirts, the boys in black and the girls in olive green.

In Lang’s second consecutive year choreographing for these dancers, our 2nd Year students embodied Dame Ninette’s original poetry through dynamic contemporary movement.

The standout treat of the new works was an extraordinary ballet by Jessica Lang, The First Voice, linked to three insightful poems by Dame Ninette de Valois, read by Royal Ballet luminaries Kevin O’Hare, Monica Mason and Darcey Bussell. In earthy autumnal colours, it seemed to be of a certain period but also timeless in unusual movements and a quiet dramatic intensity. It was a joy to watch and left memories lingering long after curtain down. – Maggie Foyer, Bachtrack

A very touching experience. – Deborah Weiss, Bachtrack

The powder-soft dancing, curved like a dropped ribbon, belied the punchy overtones of the narrative. Chef’s kiss. – Cheryl Angear, Ballet News

Christopher Wheeldon’s Christening Suite

Two dancers lunge on a diagonal forward with their left legs bent to the front. The boy stands behind the girl, his right arm around her waist and her left hand holding his. Their other arms are softly extended to the side, curved upwards. They smile brightly to the audience. The girl wears a white pancake tutu with a bejeweled bodice. The boy wears black tights and a long sleeve top. — *Nanoha and Wendel as demi-soloists in* Christening Suite

Wheeldon’s neo-classical suite highlighted the Pre-professional Year students’ partnering proficiency with spirited demi-soloists, an intricate and elegant pas de deux and a thrilling ensemble with the entire graduating class.

The School is about classicism, and nowhere was it more to the fore than in Christopher Wheeldon’s Christening Suite, made in 2008 for Norwegian National Ballet and to mark the opening of Oslo’s new opera house, hence the title. With the ladies in white tutus, the men in black, it’s everything you expect from a classical ballet, but also wonderfully light. – David Mead, SeeingDance

A buoyant, neo-classical piece of pure dance, at times reminiscent of George Balanchine’s Symphony in C. Set for a principal couple, Sophia Koo and Millán de Benito, and four demi-soloists, alongside a corps of 12 couples, it was difficult and demanding, but the dancers sailed through it. – Teresa Guerreiro, London Unattached

Wheeldon has given the School their Symphony in C and absolutely challenged them along the way. We see Wheeldon’s ongoing dialogue between harmony and discord in full flow and the dancers absolutely go where the choreographic tension asks them to, especially in the central adagio pas de deux. The rousing finale is a bombastic finish and reminds us what we already know about Wheeldon; his choreographic capabilities reside somewhere in the middle of the Atlantic Ocean, and both sides are the better for it. – Matthew Paluch, Broadway World

Grand Défilé

A wide angle view of the stage from above, with the tiers of seating framing the blue lit stage. 16 rows of students fill the stage, each with a different year group in uniform. They all stand in 5th position with their arms in low 5th and look up on a diagonal to the right. — 226 students at the end of the *Grand Défilé*

An annual tradition since 2001, the performance ended with the mesmerising Grand Défilé, with all 226 students of The Royal Ballet School uniting on the main stage of the Royal Opera House for one final curtain call. This year’s centenary edition featured golden glitter illuminating our students as the audience roared with applause.

The tiniest students to the graduates, beaming at the audience to Czerny’s Études sends a surge of adrenaline like no other. A triumphant finale to a performance that was brimming with talent and a whole bunch of names to watch out for in the future. – Deborah Weiss, Bachtrack

The moment that always gives me goosebumps. – Teresa Guerreiro, London Unattached

An exhilarating finale. – Jonathan Gray, Gramilano

Catja Christensen is the Marketing and Communications Executive at The Royal Ballet School and joined the School in 2025. She enjoys interviewing students, staff and guest artists for news stories and crafting eye-catching newsletters.