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  1. Thanks annamk. However my problem was not one of overlooking the links: for a couple of weeks each time I made a booking I would look very carefully for the link, but not find it. So then I made the booking as if for paper tickets but then contact the box office to ask them to change it for an e-ticket. This was getting tiresome, hence posting here to find out if there was a more general problem. However my last booking was fine - the link was back - so I hope the problem has been fixed now.
  2. Might I ask if other people have had trouble getting e-tickets for Covent Garden? A couple of times recently I got to the end of the booking process but no button for choosing the e-ticket option was provided. Both times I had to contact the box office to ask them to change my order to e-tickets (which they helpfully did). Am I the only person to suffer this issue with the booking process?
  3. Most interesting. Do you happen to have any information on where this important paper is to be published? I would very much like to read it.
  4. Opera glasses

    I will do a test and report back! But my antique opera glasses (which are pretty big) are as much about being decorative as functional.
  5. Opera glasses

    I inherited a gorgeous pair of opera glasses from my family but have not brought them to the West End for many years, for fearing of losing or damaging them. Recently I have been relying on a "monocular" which, though it is good for some kinds of show, doesn't give everything one would like. So, having just purchased what seem to be very good and compact opera glasses (for under £7) I thought I would pass on the tip: https://www.ebay.co.uk/itm/Compact-Roof-Prism-8x21-Foldable-Pocket-Binoculars-Birdwatching-with-Carry-Case/302608331982 Other ebay sellers seem to be offering the same product but I can only vouch for this supplier (with whom I have no connection, I should add). I tried out the different lighting conditions of yesterday's Giselle matinee and was very pleased: these glasses are a practical small size and the price seems pretty much unbeatable. The only concern I have is that the magnification is almost too strong. The focussing - I used the most helpful though not really English instructions - taught me a trick I never knew in decades of using binoculars. Hope this helps someone.
  6. Women In White?

    An interesting writer who has tackled related questions is Clair Hughes. Her "Dressed in Fiction" (Berg, 2005) covers the development of dress in some, primarily, novels of the 18th and 19th century. To my particular question Hughes has little to add about origins - indeed she writes "The source of this stereotype has not been traced, as far as I know" - and says little about this particular white image before the 1819 "Bride of Lammermoor". But in her concluding chapter - The Missing Wedding Dresses - she writes (quoting Fiona Robertson's introduction to the 1998 Oxford edition of the Scott novel): I like that phrase about emotional liberation!
  7. A week ago there was an interesting interview with Sadler's Wells boss Alistair Spalding on the Radio 3 programme "Private Passions". It is still available here: http://www.bbc.co.uk/programmes/b09p2fdz
  8. Women In White?

    Pas de Quatre, you might like this quote from the co-author of Giselle, Theophile Gautier, in his "Histoire de l'Art Dramatique" of 1859 (cited in Cyril Beaumont's classic "The Ballet Called Giselle", one of the sources I drew on for my original post, above; for my admiring comments on Beaumont's scholarship see the links on the Wilis): "After La Sylphide...(t)he new style led to a great abuse of white gauze, tulle, and tarlatan, the shades dissolved into mist by means of transparent dresses. White was the only colour used." Incidentally Beaumont later makes the interesting comment that the other author of Giselle, Vernoy de Saint-Georges, "probably adapted" that ballet's "mad scene" from the opera Lucia di Lammermoor. Rather than a history of costume as such, it is tracking such cross-fertilizations - by tracing stagings back to their inspirations - which most interests me. But any comments welcomed, as I am eager to learn more!
  9. Women In White?

    Just as an aside on the bridal dress question, an authoritative recent book from the V&A ('The Wedding Dress', Edwin Ehrman, 2011) summarises as follows: "From the final decade of the the eighteenth century through to 1840...a white dress gradually became the garment of choice for a well-to-do young woman marrying for the first time...The fashion for wearing white and silver wedding dresses, which was popular in aristocratic circles in the eighteenth century, did not disappear immediately, but became less popular and by the 1830s white and silver had ceded to white...From 1790 to 1810 white was the dominant colour for women's fashions for informal day and evening wear, and bridal clothes followed suit." However my original posting was about stage costume and so maybe there is somewhere with knowledge of theatrical customs who can add a little. I was particularly taken by Pas De Quatre's observation:
  10. Women In White?

    And we (probably) know what Fanny Persiani, the first Lucia, wore in 1835 - 1839, see Chalon's famous watercolour of Persiani in the role (from the V&A): So I can't help thinking, we can guess where Queen Victoria may have got the idea for her dress!
  11. Women In White?

    We do in fact know what Lucy was wearing in the Bride of Lammermoor in 1819, see this extract from the novel:
  12. Women In White?

    A friend sends this rather interesting picture: http://collections.vam.ac.uk/item/O17815/the-ballet-scene-from-meyerbeers-oil-painting-degas-hilaire-germain/
  13. As Giselle is about to return to Covent Garden, might this be an appropriate time to ask a related question? The history of 19th century performers and "white acts" is presumably part of the first course every student of dance history takes. May I therefore draw on collective expertise? Listed below are a few works which seem significant, and I wonder if someone might be so kind as to fill in the inevitable gaps, particularly for the "pre-history", i.e. the years leading up to 1825. 10 December 1825: First night of Boïeldieu's opéra comique “La Dame Blanche” (based on a number of works by Walter Scott, but as regards the White Lady, specifically “The Monastery”) In the course of the action a young woman dresses in white to represent herself as a ghost. Adolphe Adam helped Boïeldieu prepare the orchestral parts, Adam of course later going on to write the music for Giselle. 6 March 1831: First night of Bellini’s opera "La Somnambula". A female sleepwalker in a white nightdress is mistaken for a phantom. 21 November 1831: First night of Meyerbeer’s opera "Robert le Diable". The so-called "ballet of the nuns" has unfaithful nuns coming out of their graves (dressed in white) to tempt the hero. This scene starred the choreographer's daughter, Marie Taglioni. 1832: Marie Taglioni appears in the title role of "La Sylphide", a ballet telling the story of a fairy - dressed in white - who tempts a man to abandon his sweetheart (the scenario was written by the tenor star of “Robert le Diable”). This sylph and her “ethereal sisters” are all dressed in white, and so Act 2 of “La Sylphide” may be thought of as the first "ballet blanc", the white act. 1835: "Lucia di Lammermoor" (Donizetti) and "I Puritani" (Bellini) are first performed, both starring women who get into a state while wearing white wedding dresses. 1836: La Sylphide is restaged to new music by the Danish ballet master Bournonville 1842 onwards: White acts in Giselle, Swan Lake and so on. Incidentally, as to Giselle itself, I wrote about the history of the Wilis in earlier postings, e.g. http://www.balletcoforum.com/topic/14339-english-national-ballet-mary-skeapings-giselle-london-coliseum-2017/?do=findComment&comment=197609 http://www.balletcoforum.com/topic/14339-english-national-ballet-mary-skeapings-giselle-london-coliseum-2017/?do=findComment&comment=200100
  14. According to this page there is also to be a conference in June in Moscow, organized by the Bakhrushin Museum : http://www.gctm.ru/en/2017/11/21/a-year-of-marius-petipa-theatre-museum-s-programme/
  15. Here is a New Year quiz question, to which I however do not have the answer. Past postings show there are fans of the wonderful Nicholas Brothers on this Forum. In their film Tin Pan Alley, at the beginning of the brother's (might one call it ball-breaking?) routine, an exotic girl does an exotic dance. She is credited as "Princess Vanessa Ammon" but who was she? There is is no point in trying the Internet as there is apparently nothing online about her. I would love to know more. Perhaps those in the US familiar with the history of African American dance entertainers know something? Happy New Year!