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  1. I found Mayara Magri an unusually subtle and interesting Mitzi Caspar. But an excellent performance all round, with Steven McRae much more rounded and nuanced than I had expected. And as usual I loved the interviews etc. Great to see Laura Connor again. And I thought it was really funny when they said about the pdds 'don't try this at home'!! (I wasn't intending to...).
  2. I'm not sure that is silly, in fact; ballet is a visual art so the way dancers look does matter. But it's then a question of suspending disbelief, so to speak, in order to enter into the performance. Normally that's easy, but I did find it quite a struggle, for example, to believe that Kristen McNally (in spite of her excellent performance) was Rudolf's mother in Mayerling last weekend, since she looked exactly the same age as her putative son. (The age issue bothered me, but the fact that her son looked very different from her didn't; so it's clearly not logical!).
  3. I wonder then why they've taken down all the photos in the amphi corridors, including the old ones of the theatre. Again - no atmosphere. I hoped/hope that that is just a temporary situation and they are going to put photos up. (But if so, why make a big fuss about re-opening etc if you haven't actually finished?).
  4. Yes, that was my one point of real approval too! (Though I did wonder why it's taken 18 years to do something so simple and which has been clearly a problem for all of that time...). Though having read Thalia's post below, the arrangement evidently still isn't quite right.
  5. Yes, very good point! I've sent a further email in respect of regular attenders who are NOT Friends.
  6. The ROH has replied again: 'Once again we are very sorry the wrong impression was given. As we’ve subsequently said, we didn’t mean that we want our Friends to come less often.' Strange, since that's exactly what they said... But I suspect that's as far as I can get for now. (Though I did reply saying that I hoped the ROH would issue a public statement withdrawing the policy, to avoid any further confusion.)
  7. I received a further reply from the ROH: 'Please be assured that we have no intention of deliberately reducing the number of Friends attending performances at the ROH. The piece in Arts Professional describes more generally the ROH’s intention to broaden its audience in the long-term, and we deeply apologise if the wrong impression was given to Friends about our pricing policy.' i.e. once more (presumably deliberately) refuting an allegation that was NOT made and not addressing the issue that WAS raised. I have replied to point out that I did not say that they wish to reduce the number of Friends attending but that they wish to raise prices to reduce frequency of attendance, with the direct quote again from Lucy Sinclair.
  8. I received a reply from Sacha Glasgow-Smith, along the same lines as previous reports. I have asked her to clarify how what she says tallies with what Lucy Sinclair said.
  9. I was in the Amphi, glued to my opera glasses...
  10. That's fascinating, Nogoat, and I'd forgotten she crossed the stage on her knees!
  11. I received the ROH magazine mailing today with a letter from Sacha Glasgow-Smith (Interim Head of Friends and Fundraising Campaigns). So I have replied to her letter by email, commenting on the Arts Professional interview.
  12. Also, in the scene at her home, the way Osipova/Mary deals with the letter to Rudolf is fascinating. Before handing it to Larisch, she shows moments of hesitation and doubt whilst she ponders what she's about to do; and when she finally hands it over she does so with an air of almost defiant acceptance. She knows she's doing something reckless, dangerous, even fatal; but she's decided to cast her die. In the final pdd between Rudolf and Mary: all hesitation gone. The image that has stayed with me is Osipova/Mary simply lying flat on her front, arms stretched out ahead of her towards Rudolf at the table, whilst (I think) he injects himself. Her complete submission now to what is happening, indicated by her complete physical abandonment. Still and prostrated before him, waiting for what is to come. For me, it brings to mind a religious context: a priest prostrated before the altar in an act of complete submission to God (e.g. on Good Friday). Here, a desperate and distorted version of that but nevertheless with the same total, physical act of submission and self-abnegation. Completely unballetic, and absolutely riveting.
  13. I don't think it does sound ludicrous, in fact, Jan. I think there is still a perception - obviously not universal, but not that unusual either - that the ROH isn't for 'ordinary' people and that tickets are all very expensive, etc. I often have to explain to people when I say that I go to ballet there that I DON'T buy very expensive tickets and that it is possible to go even if you're not rich. However if the ROH is going to raise the cheaper ticket prices to deter people like me, it will also deter the people to whom I say this. So much for helping 'diversity'.
  14. I don't know, Alison; it just sounded that way to me.
  15. His statement didn't sound to me as if he wanted to cut back, more that he was being required to. Which is sad.