Geoff

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About Geoff

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  1. One person's view, from another forum: http://www.talkclassical.com/35345-metropolitan-opera-broadcast-listeners-31.html#post1227324
  2. Just to say, Hugh Canning of the Sunday Times saw Eugene Onegin live and in his column today encourages people to try and get to the cinema to see this. I saw it yesterday and it has an exceptional number of exceptional (and exceptionally idiomatic) voices, although I heard a few surprising problems with the Met orchestra and chorus. Canning points out that the encore screenings are on Tuesday so there is time to go!
  3. Hi Elisabeth, please check your messages (PM in forum jargon) - I have just written to you!
  4. I was sorry to have to miss this cinema transmission (as by coincidence I had to miss one last year): has anyone noticed any encore screenings scheduled for London?
  5. I have a central SCS available for the last performance of Jewels on 21 April (eticket). Face value is £9. Please PM if interested.
  6. Just trying to make sense of this theory in a Royal Opera House context:-- * Lets assume that Lull is on to something and that some ROH tickets end up with a vendor who uses dynamic pricing (we know the ROH does not use it directly but only sells tickets at fixed face value) * So if ROH shows a performance as "Sold out" this will encourage people to buy tickets at higher prices elsewhere. * So if the ROH eventually gets unsold tickets back from this vendor (which, the theory goes, is what has just happened) the trade off for the ROH can only be:- WE AT ROH MAKE SO MUCH MORE MONEY FROM OUR CUT OF SOME OVERPRICED SEATS THAT IT IS WORTH US ENDING UP WITH SEATS UNSOLD AT NORMAL PRICES. Does that make sense?
  7. For those interested in the life of Doreen Wells, now Marchioness of Londonderry, I have just come across an interesting section about her in the memoirs of her friend, the writer Brian Masters ("Getting Personal"). Perhaps his recollections are already well-known. If not, and if people have a serious interest but have trouble locating the book (published 2002), feel free to send me a PM.
  8. Sorry Lindsay, don't agree with you on this (as it happens I spent some of the 1980s working on a low budget TV quiz show): I find all three acts elegant and cleverly designed. On at least some performances this run, the audience has applauded at the opening of an act, in part in response to the glamour of the setting.
  9. Just out of tonight's performance, Lamb/McRae stepped in instead of Takada/Campbell in Rubies. This was my fifth (?) time this run - including the General and the Russian gala a few weeks ago - of seeing McRae do Rubies. I would say that tonight - while being just as technically dazzling as ever, rightly eliciting cheers and bursts of applause - it seemed almost as if he has been reading the irked comments on here and adjusting accordingly. Less constant smiling, except when "in character" and towards the end, and this made a good impression. Vadim, on the other hand, seemed more smiley than I have ever seen him - and that in turn suited him. Made for more of a personality. In any case, another great night.
  10. Not many at the Phoenix in East Finchley (usually rammed) either. But then it's a new(ish) work, based on a book many people in the UK don't know. I know what you mean Trog. My heart sank slightly when the (always amazing) presenter, who yesterday I finally worked out is the head of the Bolshoi press office, told us that the book A Hero Of Our Time is "perhaps the most famous book in Russian literature" (there was me thinking this might be War and Peace, Brothers Karamazov or Eugene Onegin). My sense is that the makers of this ballet therefore relied heavily on the audience's familiarity with the source material, a familiarity we don't share. Having looked at a summary of the book online it seems the novel is not only episodic but also multilayered in its narrative styles and somewhat interior in its expression (indeed as hinted at by the presenter of the ballet). This might further remove it from direct appreciation by a western audience. Which is another way of saying, like many novels, particularly clever and complicated ones, it is not perhaps obviously well suited to be set as a ballet. However my real problem with the ballet was the relatively limited range of choreographic expression. There was a lot of dancing, yes, and it was all pretty amazing in a Bolshoi sort of a way, but the vocabulary struck me as fairly repetitive, which may have drawn attention to narrative slackness. Perhaps that is another reason you might have found it dull? I have a completely different question: anyone know why the Bolshoi website has this marked as "Adults only"? Yes, the choreography for the women had a few visit-to-the-gynaecologist lifts but everyone stayed dressed and nothing explicit happened, so what am I missing?
  11. Anyone got an online link for the Hero Of Our Time cast (no cast list at the Phoenix again)?
  12. Just out of my first time seeing the Naghdi/Ball/Takada/Campbell/Heap/Lauren/Vadim cast (having by chance seen the first cast three times): wow, maybe even better! And Mr B nailed it too!
  13. And, another reminder, the link is STILL live.:- http://www.theoperaplatform.eu/en/opera/donizetti-lucrezia-borgia#xtor=EPR-38-[General] Another taster would be to jump to La Devia's final entrance - at 2 hours 29 minutes. Enjoy!
  14. I LOVE this page: primarily a page for buying tickets, it has a synopsis, which (on my machine anyway) has a paragraph hidden from view as it "Contains spoilers". Spoilers for the plot of Swan Lake, that has made my day! On a serious note, I see this season is "celebrating" Kenneth MacMillan. That makes this coming year different from the last ones exactly how, Lady M?