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  1. Hi all. Not or sure how much of a long shot this is, but if anyone wants to sell their £25 ticket to the Russian Icons Gala on the 25/02/18 please let me know! Thanks.
  2. Audience Behaviour

    Was going to post this with my thoughts on the ENB Jeune Homme/La Sylphide bill, but figured it’d be more appropriate here. I’m really beginning to dislike the London Coliseum as a venue. I’ve been quite a few times and all but once have sat at the Balcony level (the only other place I’ve sat was Upper Circle). Almost every time I’ve been distracted by people talking or whispering, or as the case was on Saturday with the couple who jumped in the seats in front of me; giggling and whispering. They also kept kissing (so kept missing chunks of the performance & then in hushed voices kept trying to figure out what was going on 🙄. Thankfully they moved several seats along after the first interval so they could space out their rucksack & coats). I did manage to block most of it out but did get drawn out of the drama on stage a few times by the whispering. Also during the same performance someone nearby kept impatiently tapping their shoes during La Sylphide, although thankfully they stopped after a while & didn’t restart. Maybe I’m being a bit petty & a bit grumpy but I find it so distracting and annoying. And always at the Coliseum! Does anyone else find this venue is particularly bad for it or am I just unlucky? Anyway, rant over :-)
  3. I also saw the matinee on Saturday & can only echo what others have already said. I loved the intensity of Le Jeune Homme & how both Jia Zhang & Cesar Corrales managed to convey the various emotions so clearly (even from my seat in the Balcony). I loved the music as well. I would love to see more of Zhang in the future. La Sylphide is not something I’ve ever seen before, although before Saturday I did watch the video of Schaufuss/Evdokimova on YouTube (beautiful). I really enjoyed it. I found the ending - when she loses her wings - profoundly moving. Alison McWhinney was a delightfully mischievous Sylph & I also enjoyed Aitor Arrieta. Their smiles were infectious in Act II. Stina Quagebeur is a complete chameleon & always completely inhabits the characters she plays/dances. I do agree with others regarding the corps. I felt some of the dancing was a bit stiff. A minor quibble. Overall, it was a really enjoyable double bill; I only wish I could have attended more performances from this run. I do wonder if the empty seats were indicative of the month (just after Christmas, before payday)? The Balcony was noticeably sparse & I remember Le Corsaire being the same last year around the same time...
  4. I have a ticket available for the ENB double bill of Song of the Earth & La Sylphide at the London Coliseum. Performance is on Saturday 13th January at 2:30PM. Seat is C11 Balcony Centre Right - £13.50. Unfortunately have left it too late to arrange reasonably priced travel. Any questions let me know!
  5. Selling my SCS ticket for the RB Nutcracker 2PM matinee on the 27/12/17. D33 (standing ticket) - £8 Had a look at the trains last week & noticed they won’t be going to London on that date Any questions let me know.
  6. Bumping this up now it’s closer to the date - no interest thus far.
  7. Selling my ticket for the Amore/Svetlana Zakharova bill at the London Coliseum next month on the 24th November. Start time is 7:30PM. Seat details: Upper Circle Centre - K40 - £20 I’m no longer able to go & don’t really want the ticket to go to waste (they don’t accept returns on tickets). Any questions please let me know. :-)
  8. Bizarre how much it varies around the country! Agree that it's likely due to the various chains rather than the ROH. For comparison, I have 2 nearest cinemas that show RB performances: an Odeon & a Showcase cinema. The Odeon charges £13.50 for an adult & the Showcase charges £15.45 (bigger screen & comfier seats). I checked prices for the upcoming Alice as well as Manon/Swan Lake next year & the prices were all the same. No idea if encore showings vary in price.
  9. I was lucky enough to see two casts: the one with Ekaterina Kondaurova/Evgeny Ivanchenko and the other with Ekaterina Osmolkina/Ernest Latypov as the leads. Realise I'm a little late to post but figured I might as well before I chickened out entirely. I do prefer this version to the Grigorovich Swan Lake that the Bolshoi brought last year. In comparison, the Mariinsky version seems less visually gloomy. I can’t say I’ve ever been a big fan of the happy ending though – I find it a bit of a let down after that tension has built up just before it – but enjoyed it nonetheless. I always forget how much I love the music for Swan Lake and am quite glad I decided to go (even if I did grossly overestimate my standing abilities during that first act). It’s funny how certain phrases of music can make you feel emotional & that final section of strings does it for me, irrespective of what is happening on stage. I’ll start with my impressions of the first cast. Ivanchenko was a strong partner but ultimately I found him quite bland. I didn’t feel much, if any, rapport between him and Kondaurova, so felt the performance fell slightly flat. Kondaurova is a really lovely dancer. She has beautiful, long lines & is a very strong technician, making everything appear effortless. I enjoyed the juxtaposition of her commanding, sensual Odile against her more vulnerable Odette, although did find she kept an aura of coolness/regality about both characters. I enjoyed the overall performance much more on Saturday afternoon, with the second cast I saw. I do tend to prefer shorter dancers anyway, but one of my main reasons for enjoying it much more was that the entire cast seemed much more involved with the story. Osmolkina was a much warmer, gentler Odette. She gave a really understated, emotional account of the role, so much so that I’m struggling to do it justice here. She had natural chemistry with Latypov. Her Odile, in contract, was wicked and sensual. One of my unexpected highlights of the matinee was Latypov, a dancer I’m unfamiliar with. I tend to write off Siegfried as a bit useless, with little to work with character-wise. However, after last Saturday I completely changed my mind. Latypov looks really young, but his dancing was technically proficient and he had no obvious issues with the partnering. Some of his landings weren’t the softest, but it’s only a minor criticism. What I really liked was how he stayed in character, even during the curtain calls – the look he gave Osmolkina during one of the act I, scene II curtain call was one of awe. During the first act in the castle my eyes kept being drawn to him, even at the side of the stage, as he stayed entirely in character. I genuinely felt his anguish at having betrayed Odette in the second act… I really enjoyed the subtle nuances he brought to what I assumed was a limited role. The pas de trois and big swans were performed excellently on both occasions. Dancers who stood out for me were Nadezhda Batoeva, Renata Shakirova in the pas de trois and as the big swans, and also Filipp Stepin the the pas de trois. I quite like having a dancing Rothbart but still haven’t made up my mind whether I prefer it to the usual character role version. I think a bit of the character, and subsequent story, was lost in this version. He seemed less evil and less involved. I also found that his black costume blended in with the dark background a few times. Of course, I don’t think I could talk about Swan Lake and not mention the corps. They were perfectly in sync and danced elegantly for both performances. The squeaky pointe shoes were really loud in the evening performance but were much quieter for the matinee the next day. The dancing for both performances was really pure; nothing flashy or over the top. I enjoyed both performances for different reasons. I’m still slightly annoyed that the matinee ran over the 5PM estimated finish time (the final act started 10 minutes late, grr)… I was so absorbed I really had to drag myself away in order to run for my train.
  10. Thank you for the answer. I wonder why they removed the context?
  11. I think the lack of risks was something I missed on the opening night performance. It just seemed to be missing something, and I thought the dancing was too ‘pretty’ and perhaps a bit too perfect… I definitely left underwhelmed, but am hoping Swan Lake will be better tomorrow. I do agree with others that it was probably a mistake for the Mariinsky to bring Don Q so soon after the Bolshoi, or to bring it at all really. Viktoria Tereshkina and Kimin Kim didn’t have the same chemistry Alexandrova/Lantratov had, although I suppose that's to be expected (I missed that much feted Osipova/Vasiliev Don Q unfortunately), and seemed to be more focussed on the steps rather than the characters. Tereshkina had an almost permanent grin on her face, but it seemed to be mostly directed out towards the audience rather than towards Kim. My biggest bug bear of the evening were the multiple curtain calls and stopping mid-act for applause. The curtain call between scenes in act 3 confused a few people, who weren’t sure if it was all over or if there was another interval. I understand this is fairly typical with Russian companies, but I don’t remember the Bolshoi being this bad last year? I may be misremembering of course. After the first act, which nearly bored me to tears, I began to feel like the applause was being milked. Talking of applause… I don’t think I’ve ever heard people scream (& I mean literally), and make so much noise before after a variation on stage. Maybe I’ve just managed to miss those types of performances before (& maybe it was just a group of people near where I was sitting?), but it really surprised me. I think the loudest screams came after Kim’s act 3 solo & Tereshkina’s fouettes. Both were technically outstanding, but I have to admit the reaction somewhat surprised me: it was good, but not that good (in my opinion, of course!). I’m glad others mentioned the La Bayadere/carpet dance part. It really confused me. I almost found it amusing, thinking to myself ‘silly, doesn’t she know Bayadere isn’t until August?’. I’ve never seen a Don Q where this happens… is it included on the DVD with Novikova/Sarafanov in the lead roles? If so, I must have conveniently erased it from memory. Did anyone else find it really noticeable that Tereshkina had donned white tights in the scene before the Dryads, whereas before she had been bare legged (I guess it made the change into her Dulcinea costume easier)? And, one last thought, I found Don Q to be quite insipid. I’ve seen Don Q’s before who have genuinely made me feel sorry for them, but this one elicited no feelings at all. Some positives: I thought the lighting was nice and bright in act I. I also quite liked the warm/yellow lighting in the Dryad scene. It felt very autumnal (perhaps not the effect they were aiming for though). I also loved the costumes – ok, perhaps not all of them (skipping over act I entirely here) – but the entire Dryad section & a lot of the tutus/dresses in Act 3 were beautiful. The dancing was technically superb. In act 2, Ekaterina Chebykina was a strong Queen of the Dryads (I felt at ease watching her do those Italian fouettes), as was Tamara Gimadieva as Cupid. Kim had good height to his jumps & didn’t budge an inch on those single handed lifts. Tereshkina was equally strong – I especially liked her variation in the Dryad scene – and I’m looking forward to seeing her in La Bayadere (along with the corps in the Shades scene). Overall, a somewhat lacklustre start for me, but I’m hoping it can only get better. I admit to feeling somewhat fatigued over the choice of guesting companies… I’d love to see a different company next time (RDB, NYCB… I can dream, right?). Then again, I may feel better after Swan Lake tomorrow. We shall see.
  12. Disappointed this morning to have logged onto the ROH website, refreshed at 9AM on the dot, only to see the grey 'Sold Out' for all performances of Jeux & Sea of Troubles. Refreshed several times to no avail... only to log off 5 minutes later & realise there were tickets available. I just couldn't see them when I was logged in. Really strange. Sat in in the queue for 8 minutes & luckily managed to get a ticket for Jeux so am feeling slightly successful now. Sea of Troubles was still sold out, but at 9:30am a few tickets appeared for the 27th, so was lucky enough to nab one of those as well. Afterwards i I logged in & out & yes, could only buy tickets when logged out first. Logged in everything was showing as sold out. Seems to be okay now though.
  13. Ticket returned to box office now