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Bluebird

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  1. Yesterday, a friend, who was keen to see the Osipova performances, queried the casting for the Spring mixed bill. Since the above post was made around six weeks ago, I decided to check if the website had been updated. I was amazed to find that the casting information when I am not signed in is STILL different from the casting information when I am signed in. The first screenshot is the information I get when I'm signed in. The second screenshot shows the information available to those who are not Friends of Covent Garden and for whom booking opens later this month. You will see that the dates given for the Osipova performances vary. Two of them are the same (May 8 and May 18 evening) but the others are different. EDITED to add that I've just checked the casting in a different way. When clicking on each separate performance from the May calendar, the casting seems to correspond to the first screenshot. i.e. it seems that they might have fixed the problem on the calendar. They have not, however, managed to fix the problem on the production page which is, of course, what most people would use to choose their performances.
  2. I have two spare side amphitheatre tickets for the Osipova/Hallberg Romeo and Juliet, Saturday June 1 at 7pm. They are D37 and E36 and are £21 each. If interested, please send me a PM and it would also be helpful if you could post here to let me know that you've done so.
  3. After reading this, I checked the price of these seats, both for opera and for ballet. To my amazement, I found that your favoured seats (B82-85) were cheaper for both Faust and Tosca than for Romeo and Juliet! For Faust, the price is £76. For Tosca, the price is £79. For Romeo and Juliet, the price is £85! Historically, as far as I'm aware, opera has always been much more expensive than ballet as the costs are much higher. How can they possibly explain this radical change in the pricing structure? It's not as if it's a new production which needs to recoup its costs. Edited to add that I've just noticed that this £85 price for Romeo and Juliet extends around the stalls circle to the bench seats close to the stage (eg as far as B97 on the right and B16 on the left. £85 for seats from which the view for ballet is most definitely restricted. I realise this post is off topic for the Nutcracker thread. Maybe a moderator could move it to a more appropriate thread?
  4. The website for this evening’s Nutcracker has Gasparini and Ella as Clara and Hans-Peter yet they are not dancing. O’Sullivan and Sambé are dancing and are even listed on the cast sheet. If the change of cast was known in time to put it on the cast sheet, they could surely have managed to update the website!
  5. Might well have been “a freak of the spot”. It didn’t seem overpoweringly loud to me. ( I was in the front row of the Balcony).
  6. The restricted view aisle seats in the Balcony, row B centre block, are far more restricted than those in row A. I've only sat there for ballet rehearsals but, in my experience, in rows B and C, the safety rail does restrict the view whereas, in row A, you barely notice the restriction.
  7. Screenshot from the digital programme:
  8. I’ve watched several recent Australian Ballet performances and, although I saw the Mariinsky version when they did it in London, I've needed to remind myself of it by skimming through it on YouTube so as to try to answer your question. Ratmansky clearly based the overall structure of his TAB version on his version for the Mariinsky and in many scenes he has just tweaked the choreography. There are however, a number of notable changes. The sets and costumes couldn’t be more different. The Mariinsky version has a strange scaffolding like structure for Cinderella’s home whereas the Australian Ballet set is a mostly normal family home, albeit with a ‘Mae West’ sofa apparently inspired by Dalí. . The Mariinsky costumes are mainly conventional whereas some of the Australian Ballet costumes border on the surreal The Guardian review from their London season in 2016 mentions “Schiaparelli’s shoe hat” and "nods to Dalí and Man Ray" and comments on the fact that “the fairy godmother is a practical Nanny McPhee figure in a tall bowler hat” The other main difference is Ratmansky’s treatment of the Seasons music. In the Mariinsky version the leading dancers for the four seasons appear as attendants to the Fairy Godmother as well as appearing in the Seasons section with their corps dancers. For the Australian Ballet the Seasons music is given to dancers representing the planets and the stars. . On the whole, I find the Australian Ballet version more interesting.and there is one particular area where I think it is, definitely, superior: The Mariinsky version does not do a lot with the clock ticking music. The Australian Ballet version is much more imaginative. When the Fairy Godmother warns Cinderella about her midnight curfew, Fairy Godmother lookalikes appear from nowhere, each one holding up a Roman numeral for each number of the clock face, and dance around a large clock projected onto the floor of the stage. In act 2, rows of bushes appear at the sides of the stage during Cinderella and the Prince’s pas de deux. When the clock music starts they transform into huge metronomes and, as they tick away, a moon clock grows ominously in the sky. An extract from a 2016 Arts Desk review conveys, far better than I can, the striking effect these scenes have on the atmosphere of the production . I hope this quote doesn’t exceed Forum guidelines on quotes: “Jerome Kaplan and Ratmansky used Surrealist art with its skewed proportions and misplaced objects to convey the subtly off-key, magical reality that Cinderella inhabits: it is inspired to have Dali’s clock faces and Man Ray’s metronome appear at key moments in this clock-obsessed ballet”
  9. May 18 1.30pm Within the Golden Hour / New Sidi Larbi Cherkaoui / Flight Pattern Stalls Circle Standing D44 for sale. £6. If interested please send me a PM and post here to let me know you've done so. As my internet access is intermittent, don't be concerned if I'm not able to reply right away.
  10. It's yours, Jules. I've replied and will post the other one on the Ticket Exchange forum now.
  11. Maybe a reader of this forum might be able to use my spare tickets? I definitely have two spare SCS for the matinée on May 18. SCS D43 and D44 £6 each. I have intermittent internet access at the moment but, if anyone would like either or both of these, do please PM me. I'll eventually post them on the ticket exchange forum when I'm next on line.
  12. On Wednesday I booked for the Spring season. My booking list for the mixed bill was compiled from the casting listed on the ROH website before my priority booking opened. After booking my tickets, I decided to double check them and discovered that the casting which was now on the website was different to my original list. Assuming I’d made a mistake when I copied the casting, I booked a couple of extra tickets so as to make sure I had tickets for the casts I wanted. I have since discovered that the casting when I am not logged in corresponds to my original list. However, when I am logged in, the casting is completely different. I now have no idea which is correct!
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