King's Curtain

The Royal Opera House in London - one of the most important opera houses in the world.

For decades, a very special stage curtain has characterized the image of the house: the famous decorative curtain made of red mohair velour, adorned with the insignia of Queen Elizabeth II. These curtains were far more than just part of the stage. They became the silent backdrop to great theatrical moments - those special moments after the actual performance when emotion, relief and enthusiasm are released in the applause of the audience.

Generations of great artists have bowed before them: Darcey Bussell, Carlos Acosta, Antonio Pappano - and decades earlier Rudolf Nureyev, Margot Fonteyn and Maria Callas. They all stood in front of this deep red velvet. 26 years ago, we were commissioned to produce these historic curtains for the first time. In almost three decades, they have opened and closed for more than 10,000 performances. They have accompanied premieres, encores, thunderous final applause and countless standing ovations.

The curtains have now reached the end of their service life due to daily wear and tear. Their renewal is therefore not only a technical necessity, but also a symbolic new beginning.

We have once again been entrusted with this extraordinary task and the new curtains will bear the personal monogram of His Majesty King Charles III, Patron of the Royal Opera House, the Royal Opera and the Royal Ballet. This visibly honors the close and traditional connection between the monarchy and the art of the stage.

Sir Alex Beard, Chief Executive of the Royal Ballet and Opera, explains: "This commission is part of a major refurbishment programme across the Royal Opera House, updating areas that were last refurbished in the 1990s. The new curtains are not only a tribute to tradition and artistic craftsmanship, but also an investment in the future of our stage. We are proud to honor His Majesty's patronage in such a visible and lasting way."

And today, May 14, 2026 at 7:30 pm, the time has finally come: the new curtains will be ceremoniously unveiled in the presence of the King as part of the annual Spring Gala.

Preparations for this extraordinary project began back in early 2025 at our company headquarters in Umkirch near Freiburg im Breisgau - under the direction of our Senior Project Manager Dipl.-Ing. Andreas Främke. Having worked at Gerriets for over 30 years, he is one of the most experienced specialists in decorative curtains and theater technology. In London, historical documents were examined, measurements taken and technical requirements analyzed. Modern stage technology also had to be taken into account in the planning. Sourcing the fabrics proved to be a particular challenge - only a few manufacturers worldwide still produce the required materials. The first full-size samples were produced.

The curtains consist of a total of four layers: a visible decorative layer of red velour weighing 800 g/m², a protective layer on the back and two additional sound-absorbing intermediate layers. In the end, around 750 kilograms of fabric are used. The two curtain sections each measure 9.75 meters in width and 10.8 meters in height.

At the same time, the Royal School of Needlework began producing the elaborate embroidery - including the crown, royal signets and numerous decorative ornamental elements - under the supervision of the royal family. An impressive feat of craftsmanship and design.

The design is also extraordinary from a stage engineering perspective: the curtain combines elements of the Wagnerian and German opening. Finally, the curtains were sewn in our workshops in Volgelsheim near Breisach am Rhein in France, close to the German-French border on the Rhine.

Under the direction of our experienced seamstress Hildegard Heitfeld, her colleagues Océane Mebold, Barbara Schwob and Laurence Gerber worked with the utmost precision over a period of four weeks: the fabrics were checked, measured, cut and checked again. Several sewing machines were in use at the same time. The processing of the heavy materials and elaborate appliqués demanded the utmost concentration, craftsmanship - and physical strength.

Two weeks ago, assembly finally began on site in the UK. Our technicians Falk Zeides, Manuel Back and Filip Garbacz accompanied the delivery.

Under the strictest secrecy - even towards many of the company's employees - work was carried out exclusively at night, when there were no performances. The curtains were hung, adjusted and tested again and again. Only when all the movement sequences worked perfectly were the two parts sewn together precisely at the bottom.

This project is an impressive example of European collaboration - driven by passion, precision and decades of experience.

We are proud to be part of this special moment.

Long live art.

Curtain up, we'll take care of the rest.