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Lynette H

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  1. Lynette H


    I think that to celebrate the centenary we ought to have the chance to see Fonteyn herself on film. The Linbury has proved now to be a good venue to see film. There are a number of recordings available. Wasn't there some on at the BFI some years back. Does anyone recall that ? Or what is potentially available that you would like to suggest ? I recall recently stumbling across Fonteyn as Ondine on an obscure freeview channel. I'm sure many people already possess favourite recordings, but I think the chance to see the works on the big screen would be welcome.
  2. Well, tickets for his London Palladium performances are still on sale. Prices range from £23.50 to £409.50.
  3. Someone asked where do you find out details of these events. They are listed on the what's on page as it currently exists, but direct links are http://www.roh.org.uk/functions (includes studio live, family Saturdays etc). Booking for next period from 30 Jan. http://www.roh.org.uk/workshops (the above includes dance with the Royal Ballet) Booking for next dates opens 30 Jan. http://www.roh.org.uk/recitals The above includes Crush room performances and the Friday lunchtime events.
  4. Something seems to have changed with booking Friends rehearsals at the ROH in the latest booking period. I am sure that previously, as a basic "Friend", it was only possible to book tickets in the amphi. But for the rehearsal of the Within the Golden Hour triple bill, it was possible to book anywhere in the house. The ticket price structure had changed as well. It used to be that there were just two ticket prices in the amphi, which last year for ballet were (I think) £4 and £19. Now in the amphi the tickets were in three rice bands, with the top price now £24. So yet another price rise then. I'm not sure if the availability of tickets in other parts of the house is just an abberation for this bill, or might apply more generally to ballet rehearsals. Has there been some announcement on this that I've missed ?
  5. I just thought I would record how helpful the ROH box office staff have been recently. I made a bit of a boob when booking online on Wednesday and managed to book an evening performance instead of the intended matinee. When I managed to get through to them on the phone (which admittedly took a while) they were very helpful about swapping the ticket for what I wanted. All done very quickly and pleasantly. I do hope the box office staff are retained. I'm not sure what the procedure would be if only online interaction was possible.
  6. Trivia note: I was amused to see that the top of the steps in the temple in Act 3 retained a neat rounded imprint of gold paint from where the Idol had been sitting. Once you had spotted it, it was difficult to ignore.....
  7. Perhaps, just as for The Unknown Soldier, where Naghdi took over Hayward's performances, there may be a similar style swap here with other casts rather than giving the broadcast to someone not previously cast.
  8. I thought I might try to dig out some reviews from 2013 for comparison: probably by no means comprehensive, but here they are. https://www.telegraph.co.uk/culture/theatre/dance/9978935/La-Bayadere-Royal-Ballet-review.html http://www.markronan.com/2013/05/la-bayadere-with-acosta-nunez-kobayashi-royal-ballet-covent-garden-may-2013/ https://www.ft.com/content/94d1b41c-a030-11e2-a6e1-00144feabdc0 https://www.theguardian.com/stage/2013/apr/07/royal-ballet-la-bayadere-review https://metro.co.uk/2013/04/09/ravishing-yet-timid-roberta-marquez-in-la-bayadere-at-royal-opera-house-3587892/ Interesting to see who was involved then vs, now.
  9. Dis this article about pointe schoes escape the links team earlier ? https://www.telegraph.co.uk/news/2018/10/26/brown-ballet-shoes-made-first-time-uk-move-hailed-historic-diversity/ "Dancers from minority ethnic backgrounds can now get pointe shoes in both bronze and brown instead of traditional pink to match their skin tone. The footwear is made by Freed of London - Britain's oldest manufacturer of ballet kit. Cassa Pancho, founder and artistic director of Ballet Black, a professional company of black and minority ethnic dancers, hailed the news as marking an "historic moment" in British ballet. "
  10. A trivia question: what do you think is the card that Larisch selects and hides and then produces in triumph to convince Mary that she is meant for Rudolf ? King of Hearts ? Queen of hearts ? Just wondering......
  11. Alison, I thought I saw you with a cast change slip that evening. Am I imaging this ? You were the only one who seemed able to find one.
  12. I was quoting prices for the central block of the amphi where the view is clear, not the ones further round the curve where there may be some restriction. It is very snug in there, shall we say.
  13. It may not be the ROH's deliberate intention to reduce frequency of attendance but that might be the outcome of the price rises they are implementing this season. Consider the prices for row A of the amphi. This used not to be in the top price band for the amphi because of restricted leg room. It's in the top price band now, for the normal seats. There are a handful of seats which are cheaper because of the extremely restricted leg room ones with a pillar by the knees. For Mayerling, the price for one of the extra-restricted spaces was £50. The prices for the same seat for Don Q is £60. For Frankenstein it is £55. For Romeo and Juliet it is £74. That is for a seat which is a very tight squeeze. The ordinary seats in row A (and the central block A- D) are Don Q £73, Frankenstein £70, R & J £85. That's some pretty steep price increases over previous years and even during a season. I don't see any response from the ROH on the point about price rises.
  14. I don't think that's the case. It looks like the Arts Council prefer to invest in younger choreographers "Mr. Alston said that he had “absolutely chosen” to step down as the artistic director of The Place, but that closing the company has been a more complicated decision. He said his troupe has received most of its funding through an Arts Council England grant given to The Place, which last year applied to be a National Portfolio organization — a company or institution that is regularly funded over a four-year period. “That essentially requires you to reinvent yourself, and The Place decided to focus on younger artists and tour them,” he said. That meant his company would no longer be in residence at The Place and would lose most of its funding." https://www.nytimes.com/2018/10/08/arts/dance/richard-alston-dance.html
  15. There is finally a reply on the ROH news page to some of the comments raised on the "new" ROH. It confirms "We'll still be sharing information and updates via our News section, but the bulk of our content offer will move to our hugely popular social media channels including Facebook, Instagram and YouTube. We're also shifting our focus towards more filmed behind the scenes content, which I'm sure will be of interest, so will be ramping up the amount of Facebook Live films and rehearsal clips, as well as artist features. In doing this, we'll be able to reach millions more each week with the magic of opera and ballet."