UK’s Royal Ballet and Opera cancels Tel Aviv ‘Tosca’ after staff protest over stance on Gaza

also offered support for performer Daniel Perry, who raised a Palestinian flag on stage during a curtain call on July 19 in what the letter described as “an act of courage and moral clarity.” (Screenshot/Sky News)
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Updated 05 August 2025
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UK’s Royal Ballet and Opera cancels Tel Aviv ‘Tosca’ after staff protest over stance on Gaza

  • It comes after 182 dancers, musicians, singers and technical staff sign open letter denouncing ‘recent actions and decisions’ by organization ‘in the context of the ongoing genocide in Gaza’
  • Letter backs actions of performer who raised a Palestinian flag on stage last month as ‘act of courage and moral clarity,’ and accuses organization’s director of opera of reacting aggressively

LONDON: The UK’s Royal Ballet and Opera has canceled a planned 2026 production of “Tosca” at the Israeli Opera in Tel Aviv, after nearly 200 members of staff signed a letter criticizing the organization’s ties to Israel amid the war in Gaza, it was reported on Monday.

Company chief executive officer Alex Beard confirmed the decision in an internal message in which he acknowledged the letter and told staff: “We have made the decision that our new production of “Tosca” will not be going to Israel.”

A total of 182 members of the Royal Opera and Ballet, including dancers, musicians, singers and technical staff, signed the open letter on Friday denouncing the “recent actions and decisions taken by the RBO in the context of the ongoing genocide in Gaza.”

In particular, they condemned the recent hiring out of the organization’s “Turandot” production to the Israeli Opera for performances that took place last month, The Guardian newspaper reported on Monday.

“The decision cannot be viewed as neutral,” they wrote. “It is a deliberate alignment, materially and symbolically, with a government currently engaged in crimes against humanity.

“The venue itself, the Israeli Opera, publicly offers free tickets to soldiers of the Israeli Defense Forces ‘in recognition of their work,’ as stated on their website.

“The RBO is clearly making a strong political statement by allowing its production and intellectual property to be presented in a space that openly rewards and legitimizes the very forces responsible for the daily killings of civilians in Gaza.”

The letter demanded that the organization “withholds our productions from institutions that legitimise and economically support a state engaged in the mass killing of civilians,” and rejects “any current or future performances in Israel.”

It also offered support for performer Daniel Perry, who raised a Palestinian flag on stage during a curtain call on July 19 in what the letter described as “an act of courage and moral clarity.” It accused the RBO’s director of opera, Oliver Mears, of reacting aggressively.

“We witnessed (Mears) attempting to forcibly snatch the flag from the performer, displaying visible anger and aggression in front of the entire audience,” the letter said.

“Far from being a neutral administrative intervention, (his) act was itself a loud political statement. It sent a clear message that any visible solidarity with Palestine would be met with hostility.”

Perry has stated that Mears subsequently told him he would “never work for the Opera House ever again.”

The employees who signed the letter also highlighted what they described as a “deafening” double standard, noting the organization’s open support for Ukraine following the invasion by Russia in 2022, adding: “We understood then that silence was unacceptable. Why is it different now?”

In response, Beard said: “I am appalled by the crisis in Gaza and recognize the deep emotional impact this has had across our community and wider society. On this issue, we acknowledge and respect the full range of views held by our staff, artists and audiences.

“The events at the curtain call on July 19 were without precedent. We have reflected carefully and reviewed our internal protocols. We always endeavor to act with integrity and compassion. We want our stage to remain a space for shared cultural appreciation, free from individual political statements.”

The RBO’s support for Ukraine was “aligned with the global consensus at the time,” he added, but global geopolitics had become more complex and so the organization’s stance had changed to ensure its actions reflected its “purpose and values.”

The Israeli Opera removed details of the production of “Tosca” from its website but has not commented on the cancellation.


‘The Wild Within’ sees artists breathe new life into Mideast buildings

Updated 16 December 2025
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‘The Wild Within’ sees artists breathe new life into Mideast buildings

DUBAI: Lens-based artist Ryan Koopmans and digital artist Alice Wexell are staging a showcase at Dubai’s Leila Heller Gallery that breathes new life into regional buildings.

The series of digital artworks is part of the exhibition “The Wild Within,” featuring images of old structures in Beirut, Istanbul, and Abu Dhabi filled with wild flowers.

Two of the largest works, “Heartbeats” and “The Wish,” are displayed using Ventana, a microLED architectural display surface created by visual technology company Megapixel.

'Around Us' by Ryan Koopmans and Alice Wexell. (Supplied) 

The former artwork depicts the entrance hall of Qasr Al-Watan, the UAE’s presidential palace in Abu Dhabi, while the latter reimagines the upper floors of the Emirates Palace Mandarin Oriental in Abu Dhabi.

“Each building we work with comes to us through a combination of research, travel, and intuition,” the artists told Arab News in a joint statement.

'Constellations' by Ryan Koopmans and Alice Wexell. (Supplied) 

“We are drawn to structures that carry both emotional and historical resonance, often buildings that once embodied human ambition and now exist in a state of quiet transformation.”

Koopans and Wexell made sure to research the context of each building they choose to recreate, saying “an old villa in Jeddah or a former school in Sharjah each hold their own cultural memory, influencing everything from the lighting and atmosphere to the plants and flowers that we digitally sculpt and implement into the photographs.”

'Heart of Sharjah' by Ryan Koopmans and Alice Wexell. (Supplied) 

The hypnotic works depict the interior of buildings in the region, with digitally rendered flowers carpeting the floor in a bid to “(reimage) these spaces (and) explore the relationship between nature, place, and time, while celebrating each site as a unique work of architecture with its own spirit and story,” the artists said.

Koopmans is of dual Canadian and Dutch heritage, while Wexell is Swedish and based in Stockholm, so it is noteworthy that both artists chose to explore the Middle East for their latest project.

'Blossom of the Ancestors' by Ryan Koopmans and Alice Wexell. (Supplied) 

“In the Middle East especially, the architecture reflects a layered past that merges different styles and eras, while also expressing a sense of renewal and forward-looking energy, particularly in the region’s fantastic contemporary buildings. We are drawn to the symmetry, geometry and patterns that are found not only in nature itself, but in the architectural language of the region both past and present,” they said.

The series — featuring works such as “Adore You,” “Between Worlds,” and “Blossom of the Ancestors” — explores contrasts between the natural world and human-made forms, as well as the traditional and contemporary worlds.

“We are interested in how these elements coexist and merge into one another, creating a sense of hyperrealism that feels both familiar and imaginary. By merging photography with digital sculpture, the artworks question where the boundary lies between documentation and invention, and how technology can extend rather than replace our sense of the natural world.”

'Under the Rain of Light' by Ryan Koopmans and Alice Wexell. (Supplied) 

Although the scale of the artworks ensures they leave the viewer entranced, it did pose challenges, according to the artists.

“Presented at a large scale, every texture in these artworks becomes visible, which can be demanding but is also incredibly rewarding. The magnified detail allows the visceral and atmospheric layers of the pieces to come through with greater impact,” they said, adding that each piece took “many months” to create.

“Ultimately, we want our collectors to experience a sense of wonder and contemplation, as if they are standing inside a dream that feels both entirely real yet unreal.”

The exhibition runs until Jan. 15, 2026.