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Found 46 results

  1. I will not fill out another survey for them! https://www.artsprofessional.co.uk/magazine/article/dancing-pinhead-pricing
  2. I have a ticket for an Insight Evening later this month in the Clore. Can anyone tell me if the studio has been changed/"upgraded" as part of the new "Open" programme? Have to admit I'm hoping the seating has been improved as in the Linbury. Linda
  3. I've been to a couple of daytime events in the Floral Hall recently - one of the Month of Sundays mornings and today the Ballet Studio Live:Class, and I thought both were well run events and a good use of the space to generate additional revenue. Today apparently sold out quite early, and seems set to become a regular feature. Today's dancers were mostly from the Aub Jebsen programme , which I hadn't been aware of before. Several were quite impressive, so fingers crossed for them getting full contracts in due course. Taisuko Nakao had some serious height in his jumps, and of the girls Katherina Nikelski and Yu Hang looked very neat and accomplished, while Lania Atkins was also both graceful and striking. More of this kind of thing!
  4. I was just disappointed with the poor choice of seats left. It also shows there is a distinct need for more matinees!! Seems all the priority bookers got there first. I think they need to look at the whole booking system because Joe Public is not getting a fair crack at the whip. I got 1 DonQ where I wanted and I had to book a cheap seat for Les Patineurs which will do, but it really is not where I wanted. Thankfully I got an Insight ticket for DonQ. As I had wanted to see 5 DonQs and 2 Les Pats due to the high prices and lack of seat choices I ended up with only 1 of each. It seems ROH got its wish to exile regulars. Meanwhile I will now use the time and money to patronise other companies elsewhere.
  5. Today's review: https://www.theguardian.com/artanddesign/2018/sep/19/royal-opera-house-linbury-theatre-open-up-stanton-williams Has anyone been inside yet?
  6. This has been referred to on other threads but I thought it merited a separate discussion as it is an interesting initiative in its own right, especially in the context of 'open up'. I was fortunate to see the live rely of The Nutcracker and, last night, a repeat of the Lamb/Muntagirov Manon which is to be issued as a DVD/BluRay. But there have been, and will be, other ballets (Osipova/Acosta in Giselle, Cuthbertson/Bonelli in Romeo and Juliet, Nunez/Muntagirov in Swan Lake etc) and operas. The Linbury environment seems ideal for such screenings and it is a nice touch to have introductory interviews with dancers (last night Hirano rather than Lamb as advertised). Most of what is being shown has been out on DVD/BluRay for some time. However, the 'big screen' is a very different experience and what I value especially is the opportunity to watch a ballet that way at a bit of a distance from the live relay and the actual run of the production. One comes to it with a fresh eye in all sorts of ways. It was again noticeable last night that there were many in the audience who were new to the ROH, new to the RB and new to Manon - tick. Tickets were cheaper than in most cinemas - tick. Screenings must surely be cost-effective for the ROH and easily mounted - tick. What is shown is 'played straight': just an intro to the ROH, then straight into the performance, with only one short interval - tick. There are some 'wrinkles' with The Linbury so I'm now turning to my e-mail to customer services. But I count this Cinema Festival as a success for 'Open Up' and look forward to more such seasons.
  7. Original post deleted because the link given below is far more useful than my list of dates alone was.
  8. ... which also lets you print at home if you haven't a smart phone. http://www.roh.org.uk/news/royal-opera-house-to-introduce-e-tickets-during-2016 Excellent news!
  9. Just been looking into booking seats for Don Q. The idea of having a photo of the seat and from the seat is a good one, but why doesn't the view from the seat at least have the curtains open?! Daft! And while I'm here - where do I look for seat recommendations? I presume it's not quite as simple as "you get what you pay for" and there may be one or two (relative!) bargains to be had
  10. Very longwinded booking today, possibly due partly to having to cross-check the castings. I suddenly realised I only had 3 minutes to complete my booking, and was only partway through Two Pigeons, so paid for that lot, then realised I hadn't marked off which 2Ps I'd already booked, and my new purchases weren't yet showing up in my account, so I couldn't double-check! Pretty much turned my nose up at Don Q, apart from a couple of not at all good standings - sorry, Powers that Be, but if you seriously think I'm going to pay £19 for a seat with a 60% viewing restriction you've got another think coming! But can someone tell me, since for once I actually got in at 9 am on the dot, no queuing: given that the ROH has to hold back 20% of tickets for the general public, how it can be that there is only 1 ticket left in Stalls Circle for the first night of Les Patineurs at 9 am? I assumed the 20% was distributed evenly throughout the house. Oh, and the "sorry, that ticket is no longer available" box seemed to be oddly difficult to get rid of this morning!
  11. For a while a number of Stalls Circle seats nearest the stage have been unavailable "for acoustic reasons" (A4 to A13, A101 to A111, B6 to15, B98 to B106, C12 to 16 and C97 to C101). However these seats are now showing up, priced, on the Pricing Plan for the general booking for the Winter Season, which opens 31 October, and also for the Spring Season events - see attached example plan (for Romeo and Juliet). So it looks as if these cheaper seats are now coming back into general availability. I have emailed the ROH for confirmation and will report back - unless anyone is in the know already?
  12. Looking for a ticket for Monday morning’s rehearsal if anyone is looking to sell one. Thank you.
  13. Sorry - I may be posting this in the wrong place, but I just want to know what it's like sitting in the front row of the Amphi - I've just snapped a SL ticket up for a friend, (fairly central) but am now not sure whether she'll see over the tier as she's short. Any advice, please? Thanks Jacky
  14. The ROH website is currently headed as follows: "WEBSITE ALERT: INTERMITTENT NETWORK CONNECTIVITY ISSUES AT OUR ISP MAY CAUSE DISRUPTION TO PURCHASES, PLEASE KEEP TRYING." It wasn't showing when I logged in on the trusty ipad (using the Chrome browser with my email account open in Safari) at 10 am to do a subscription booking for 2014/15 period 3. I proceeded problem-free until I hit the "pay now" button and was taken immediately to the next page to await payment confirmation - and waited with the internet connection symbol spinning for nearly an hour. Eventually I thought to look in my email account and found that an "order confirmed" email had arrived within seconds of my pressing the "pay now" button. Abandoning the still-loading payment page on the ROH website for my ROH account upcoming performances page, the relevant bookings were showing with their order confirmation number. So all was well but I thought that if it spares anyone the anxious hour I had this morning, it's worth posting here.
  15. I am going to a matinee at the Opera House and have to go straight on to stay overnight but they say now you can’t take a case or bag to a performance. Has anyone experience of how strictly they apply this rule? I only need an overnight bag but what can I do with it? Any advice or guidance appreciated. It seems rather restrictive to say just a small handbag. Many thanks
  16. Just received an email today about changes to access in the ROH amphi "Key changes from 15 November Work will start on the Amphitheatre Level to create a fresh and contemporary restaurant and bar. The current Amphitheatre bar will relocate to the Clore Studio (during intervals only) so that we can continue to provide you with refreshments. There are a number of Insights events that will need to be moved to alternate venues and audiences who have already booked tickets for these will be contacted shortly. To help you enjoy your visit we recommend that you make use of the bars in the Paul Hamlyn Hall and Dorfman Conservatory before the performance as there will be no bar service on the Amphitheatre level pre-performance. You will also be able to leave your coat in the Paul Hamlyn Hall temporary cloakroom, and we do ask that you avoid bringing bags. If you are seated in the Amphitheatre please place your interval drinks order in the Amphitheatre Corridor before the performance and collect them in the Clore Studio during the interval. There will be a limited selection of refreshments available to all our Amphitheatre audience members during this period. From Monday 8 January 2018, the Amphitheatre Restaurant will also close." There is no indication of how long this closure lasts (or at least I didn't spot it). Further detail in a second mail indicated that the following Insights are relocated "Insights: In conversation with Arthur Pita, Tuesday 14 November This event is moving to the Crush Room at the Royal Opera House. You will not need a new ticket for this event and our ushers will be on hand to direct you to the new venue. Insights: What’s the Future of Opera?, Wednesday 22 November This event is moving to St Paul’s Church, Bedford Street, Covent Garden, WC2E 9ED. Tickets to this event will be reissued in the coming week. Insights: Joyce DiDonato – National Opera Studio Masterclass, Thursday 14 December This event is moving to the Linden Studio at the Royal Ballet School in Floral Street, Covent Garden and will now start at 7.30pm and conclude at approximately 9.30pm. Tickets to this event will be reissued in the coming week. Please note that all events will now be general admission rather than allocated seating and unfortunately there will not be refreshments available at venues outside the Royal Opera House." This looks rather hurried doesn't give the appearance of being particularly well thought through.
  17. The ROH magazine popped through the door today. One thing that caught my eye was something that I had meant to query before. On the "when to book" page it gives a date for "Friends (including Standard, Senior and Insiders)". What exactly is a "Senior" Friend or an Insider ? I have looked on the ROH web page but not found anything that explained it, or how one could sign up for it. Is it possibly a concessionary rate for older people ? I wonder because of a possible comparison with the National Trust which has a cheaper rate for pensioners, but only if you specifically ask them for it, otherwise your direct debit continues at the same price.
  18. I'm writing with a question...well, actually, several. My guess is that these questions have been asked and answered before. I did some searches, but a "Royal Opera House" + "tickets" and variants thereof turn up a zillion different threads, so I gave up. I have attended the Royal Opera House occasionally--usually when work has taken me to the UK--but not often and not recently. And I've almost never been able to plan carefully ahead of time. But this year may be different. Work will take Mr. Drewco to London in June--I'm coming with him and we plan to make a holiday of it when his work is out of the way. We hope to attend several performances of Swan Lake and, as we don't see a lot of world class ballet, we are willing to splurge on good seats if we can get them. I see on the Royal Opera House website that tickets go on sale for the general public in early April, but I have a few questions about the process: 1)When are casts likely to be announced? work dictates this trip but we have a little flexibility and casts could make a difference to our arrival/departure dates. 2)Any risk "friends" buy up much of the house before the tickets go on sale to the general public? 3)Are seats banked in all sections of the theater. I have a vague memory that Stalls circles are hardly banked at all--that row B or C for someone short, like myself, might be a disaster. (We are going to splurge if we can--but if we splurge we want to be able to see the stage). 4)Any advice about Grand Tier and Balcony seats? or sight-lines generally? Years ago I got some excellent advice on ROH stalls circles seats on an American message board and of course I remember the seats I actually sat in...But any thoughts from people here would be welcome--especially advice for short people. (My body has long since informed me that my standing room days are over.) Thanks for your patience with these questions...
  19. Virtually nothing left for Macmillan triple bill on 18/19 October.Even Orchestra Stalls completely sold out for 19th.
  20. I would much appreciate some advice. I can afford two visits so have decided on Swan Lake and Bayadere, mainly because I've seen Anna Karenina and don't enjoy DQ. I know it is hard to be exact about casting, but any recommendations as to whom I should look out for? I like my ballet lyrical, Cojocaru and Asylmuratova being my absolute favourites.
  21. I was at the rehearsal for 'Don Q' the afternoon (NB - Act One only) before the opening night. Here are some photos: Viktoria Tereshkina, Kimin Kim © Dave Morgan. Courtesy of DanceTabs / Flickr Viktoria Tereshkina © Dave Morgan. Courtesy of DanceTabs / Flickr Ekaterina Chebykina © Dave Morgan. Courtesy of DanceTabs / Flickr See more... Set from DanceTabs: Mariinsky Ballet - Don Quixote Courtesy of DanceTabs / Flickr
  22. Can I ask on behalf of a friend of mine if when the booking for the lowest level of the Friends opens if you can book by phone (albeit at 10 o'clock) or is it just online?
  23. The January edition of the Dancing Times says that the Mariinsky Season next year will be from July 24 to August 12. They open with Don Q and follow this with Swan Lake, Anna Karenina (Ratmansky), and a Triple Bill (Carmen Suite; Infra and the Paquita Grand Pas), closing with La Bayadere.
  24. I am booking for myself and some friends for Swan Lake in the late summer, and as it will be for them a bucket list experience, we are going to pay for seats that I would never normally even consider! So what I would like some help with, please, is if money were no object, where would you sit for Swan Lake? Stalls? Stalls Circle? Donald Gordon, or higher? If one sits towards the front of the stalls, are there any seats from which feet (which I always think are rather important!) cannot be seen? I know the cheaper seats very well
  25. I love a nice cup of tea, and when I go to the ballet at the ROH, I like one there too. But I never get one! Considering the generally high quality of their comestibles, why, when I ask for a cup of tea, do I get a small thick earthenware cup (last seen in a British Rail buffet circa 1970) with a teabag plonked in some lukewarm water (from a flask) with a sugar cube slowly dissolving on the side, and a DIY milk affair? For £2.10? And when I had the temerity to ask for a refill of said lukewarm water on my dangling tea bag, I was told this was not allowed. I know, I know, what can you expect when you've only paid £100 for a ticket?!
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