Conductor

Paul Wynne Griffiths

Artist

Approved

2024

2023

2022

2021

2017

2016

2011

2009

2008

2007

2006

2002

2000

1997

Individual contributor id

include virtual contributors

Pianist

Instrumentalist

Violinist

Cellist

Violist

Flautist

Clarinetist

Guitarist

Percussionist

Organist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harp player

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Continuo

Vibraphonist

Theorbist

Cornettist

Viola d’amore Player

Synthesist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Mezzo-soprano

Singer

Countertenor

Soprano

Baritone

Tenor

Bass

Contralto

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Richard Eyre's beautiful production provides the perfect setting for Verdi's opera about a courtesan who sacrifices all for love. Buy your tickets now: https...

Trailer:  La traviata

A moment from The Royal Opera's La traviata with Pretty Yende and Stephen Costello.

The courtesan Violetta lives and breathes the glamour of Parisian high society, but she has never known love – until she meets Alfredo. Abandoning her hedonistic existence for a new life in the country, Violetta receives a surprise visit from Alfredo’s father, who exposes the cruelty of society’s double standards – and accelerates her tragic demise.

Giuseppe Verdi’s riches-to-rags opera has it all: from the intoxicating joy of the ‘Brindisi’ party chorus, to the hushed poignancy of the final act, where hope teeters on the edge of despair.

Paul Wynne Griffiths

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