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  1. That's my rule as well Lizbie. I extend it by not buying anything if I can't get a table . I usually get some sandwiches and a cuppa before a performance and I'll be interested to see how busy it is tomorrow, first proper visit since open-up.
  2. I did reply with some further comments to the email from ROH and received a response which included: "As you’ve suggested, this is all being discussed currently and your feedback is very useful." which makes me feel a little better. .
  3. An extract from the email I sent, which includes quotes from the article which started all this, is: 'A particularly disturbing sentence, attributed to Lucy Sinclair, Director of Media and Audiences is, “the frequency of attendance of regular customers might need to reduce” and this is achieved by “increase price just enough to reduce frequency of attendance”.' This is where the frequency of attendance wording comes from. And yes, Members = Friends.
  4. They're pretty good. No contact required, they flush automatically when you move a short distance away. Us blokes were using what are now the ladies loos during the 'open up' build. I'll miss them 😞.
  5. Just received (I have deleted names to avoid any rule breaches): "Dear Mr xxx, Thank you for your email. I’m sorry you feel that the ticket pricing structure does not provide a benefit to you and for any offence caused by the article you mention. I would like to reassure you that it is categorically not our objective to reduce the frequency of performances that members can attend. The Royal Opera House simply could not stage the world-class ballets and operas it is renowned for without the generous support of our members. In tandem with this, and in order for our beloved art forms to survive long into the future, we must also reach new audiences so that we can nurture the next generation of opera and ballet lovers. I thank you for your feedback and hope that we can continue to welcome you and other members here in the future. Best wishes, yyy yyy Interim Head of Friends and Fundraising Campaigns"
  6. mmm... thanks Bridiem and Mary, I guess it's a case of playing it by ear for awhile. For the staff and us. I think I'll print a ticket for this first time (I know if I have to keep getting my phone in and out to find the eticket I'll drop it!).
  7. May I ask where is the amphi cloakroom? And for those who sat in the amphi, where were your tickets checked and did you need them at the intervals going to and from the bar and loos? I usually have my ticket on my phone and just show it once entering the building, but I think I may need to print one for this Saturday.
  8. Richard, in my case it's not the article but the things that the ROH have already done that mean I will not be renewing my Friends membership in December. In particular increasing the price of the row A amphi seats, which used to be several pounds cheaper than those behind. The early-booking price saving justified (financially) my Friends membership and, unlike Baker Richards 😂, I can do simple maths and the numbers don’t add up for me anymore. The article does explain the logic behind the price increases and they seem quite cynical rather than just another price increase. Whilst I am a little saddened that I will no longer be a Friend the smug arrogance of the article does make me feel content that my decision was the right one. I will go to the ballet just as often, but as an example I didn’t book for any of the ‘The Two Pigeons’ on last week’s Friends’ booking day. Instead my January/February ballets will be ENB Swan Lakes at the Coli and Matthew Bourne's Swan Lake at Milton Keynes. My next opera won’t be La Traviata at ROH but will be La Traviata at Milton Keynes.
  9. I wonder what the ROH will make of this article this morning. Can someone with more social media skills than me maybe tweet it or something... I'm going to contact the ROH Friends people and ask them to comment if I am really the 'wrong type of person' to go to ballet and opera.
  10. The arrogance is breath-taking. It certainly is having the desired effect on me though. My ballet ticket buying model for the last few years has been to be a basic friend which lets me book early and get the front row amphi tickets. This is one of my favourite places to sit plus they used to be a few pounds cheaper thus justifying the expense of the Friends membership. Now those prices have increased I have decided not to renew my Friends membership which expires in December. I’ll still go to the ROH for the big ballets but take my chances on public booking days. Instead I’ll go more to the Coliseum and Sadler’s Wells and look out for more bargain tickets.
  11. Timmie

    Don Giovanni ROH 2018

    I started my comments on this in my ‘First Operas’ thread. This was only my second opera so take my comments with that in mind. The easiest place to start is the set. A large rotating cube over two levels with two or three internal staircases and a number of rooms and balconies. The cube rotates to provide the different backdrops. It was stationary a lot but also frequently slowly rotated during the action which initially seemed clever but by the second act was a bit nauseating. Lots of projections as well, some good and effective but also a bit excessive at times. The opera opened with lots of projected writing onto the cube which I initially thought was the cast and crew as in the credits to a film… then the penny dropped (a list of DG’s conquests). Overall I liked the production and heard other favourable comments in the interval. They could’ve used the projected writing to tell us where each scene was set as I got a bit confused where we were meant to be at times… Probably not important. I loved all the singing, all the leads had some wonderful solos to perform though only one I recognised. One thing I did notice was that the tone of their voices did seem to noticeably change when they were upstairs versus downstairs out on the open stage. I preferred the open stage tone. I think I liked Zerlina’s (Chen Reiss) two major solos the best, though Donna Anna’s (Rachel Willis-Sørensen) final solo was mesmerising and I was still so entranced after that one that I completely missed why Leporello (Ildebrando D'Arcangelo) suddenly turned into Data from Star Trek. Presumably he died for some reason? The ‘bonkers brilliant’ comment I made elsewhere refers to the final act when everyone is singing different refrains at the same time and then Don G’s (Mariusz Kwiecień) final anguished solo. It all left my head spinning in a good way. Amazing to see and hear Willard W. White as the Commendatore, one of the few opera singers I have heard of (sorry). Overall a wonderful second opera, though operas are awful long aren’t they? 95 minutes then 85 minutes in an Amphi seat left my posterior a bit numb! I’m used to ballet where 60 mins is long.
  12. Timmie

    First Operas

    That was bonkers brilliant. Loved it immensely. I'll post some coherent thoughts tomorrow. 😀.
  13. Timmie

    First Operas

    My second live opera is going to be tonight – Don Giovanni 🙂. It sounds like a good choice for a beginner’s opera but I’m afraid the main reason I chose this was simply to make sure I got a good seat for Swan Lake opening night and buying an advance package of Don Giovanni plus Swan Lake let me book a week early 😄. I’m very much looking forward to it and I’ll report back tomorrow.
  14. Timmie

    Audience Behaviour

    That is amazing 😲. I clap-on my favourites and any Odette.