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I think someone posted in the Times comments that they'd managed it.

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1 hour ago, penelopesimpson said:

As far as I can tell, there were NO La Forza seats available when General Booking opened.  I would be delighted to be proved wrong if anybody managed to get any.

 

You already asked this question. And, unless I have misread what Bruce Wall wrote, I already answered it:

 

http://www.balletcoforum.com/topic/19422-what-trick-did-i-miss-with-la-forza/?do=findComment&comment=271269

 

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1 hour ago, penelopesimpson said:

Afraid not.

 

Apologies but I am not sure what this refers to. You wrote:

 

>>As far as I can tell, there were NO La Forza seats available when General Booking opened.  I would be delighted to be proved wrong if anybody managed to get any.

 

And I quoted Bruce Wall as having written:

 

>>Only one Forza ... Sorry, ROH, I refuse to pay £24 for a dreadful slips place after which you have to fork out for a chiropractor.

 

...from which it seems he could only find tickets for one Forza, a "dreadful slips place" he could have bought but chose not to. Which suggests there WERE tickets available when General Booking opened. 

 

Or have I misunderstood?

 

Edited by Geoff
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There are two issues here, as I have already said on the other thread.

 

1) How many seats are held for General Public (which concerns me greatly, even as a mid-level Friend - they should absolutely be holding a fair proportion of tickets for public sale, and as far as I knew they still were).

2) The touting issue.  Whoever it is that may be abusing Patron or Friends membership to acquire tickets for the purpose of touting is surely easily traceable by the ROH box office simply through the seat numbers advertised on the touting sites.  Obviously I consider it morally wrong anyway, but if I didn't, I still wouldn't dare try as I'd expect to have my membership privileges revoked.  So what are they doing about it?

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I guess that if someone joins the Friends in order to tout for tickets (and why wouldn't you, now I come to think of it?), the membership fee would just be regarded as a business expense - as might any additional donations they might care to make.  I do see the potential for a conflict of interest here.  Unless the actual seat numbers are specified on you-know-where, I suppose it must be a bit difficult to know who's touting, and if anyone who complains to the management knows they risk being chucked out for not having a valid ticket they may be reluctant to do so, at least at the time.  With 10s of thousands of Friends, it would presumably be quite difficult to track any individual (and I don't know whether GDPR would limit what you could do about searching through their data) :( 

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I didn't want to see Forza and so am not personally affected by the ticketing problems. But I am very concerned by the frequency of ROH tickets being sold at grossly inflated prices by the likes of Viagogo. I think there were also some pretty silly prices for the last performances that Ed Watson did in Mayerling, something like over £100 for restricted view amphi.I feel sure the box office could implement their rules about this, but have they got the will to do it? Obviously no objection to the official agencies that I believe are listed on their web site, but they really must get a grip on identifying who is supplying tickets to these sharks. 

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I think that a 'spot check' might be worthwhile on the part of the ROH. After all, every ticket is allocated to someone specific.

Once again, at a 'sold out' performance on Saturday evening, there was a block of empty seats in the front row of the Orchestra Stalls. It does make one wonder if some people are buying 'on spec.' Mention has been made on here before that some people buy 'group' tickets and rendezvous with people in the 'scratch' group at the front of the ROH in order to distribute tickets.

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The ROH have posted a little video on Twitter addressing availability and pricing...

 

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Just saw this on Twitter:

 

 

Not sure they’re “correcting” anything I’ve seen, just giving alternative figures.

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Firstly, well done ROH for its prompt reaction.  

 

I think the 62% figure for tickets being available for the public to buy in the Spring Booking period is the interesting one as it’s clearly an aggregation of availability for all performances in the period and would allow for a number of performances to be pretty much sold out prior to general booking opening (as seems to have happened with some Forzas and the Ring and may well happen for the Margot Fonteyn evening).

 

It’s also good that the ROH reports 17.5% of La forza del destinotickets were available for the public to book online but I rather wonder if this is the average for all Forza performances when Netrebenko/Kaufmann are performing in five of the ten performances  - so perhaps not quite as transparent as might be:

https://www.roh.org.uk/news/la-forza-del-destino-the-royal-opera-houses-position-on-viagogo

And Alex Beard doesn’t actually say what the ROH plans to do about tickets ending up for sale on viagogo.

 

Edited by JohnS
typo
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Alex Beard doesn't say anything at all - unless I'm missing something?

 

Alternative figures ... "lies, damned lies and statistics" ...?

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The figures weren't inaccurate, just not very palatable....trying to state figures which will include things that aren't selling quickly to counter claims that some very popular opera performances are as good as sold out before the public can buy them is probably more inaccurate

Edited by Rob S
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33 minutes ago, alison said:

Alex Beard doesn't say anything at all - unless I'm missing something?

 

Alternative figures ... "lies, damned lies and statistics" ...?

 

And deliberate confuscation ...

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1 hour ago, alison said:

Alex Beard doesn't say anything at all - unless I'm missing something?

 

Alternative figures ... "lies, damned lies and statistics" ...?

No good saying he's 'spectacularly cross' - he must do something and be seen to do it.

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Just before the Don Q Insight (very enjoyable), I posted a response to Alex Beard’s news item on the Royal Opera House’s website.  I hope I’ve reflected the various points made above, including: asking about the Netrebko/Kaufmann Forza general booking %age availability (which I assume was lower than the 17.5% for all Forza performances); the 20% target (whether it’s still operating and if it’s per performance or averaged over a booking period); and what action is being taken in relation to tickets being sold on Viagogo.  I imagine my post is awaiting moderation.

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ROH have posted a 'myth-buster' clip on Facebook, ref seat prices and availability...

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maybe the ROH should update Alex Beard's statement dated 24 January 2014 in the Tickets Section of the web site   in which he states that40% of tickets are under £40! And while they're at it, it would be sensible not to show the dates when the box office will be closed over the Christmas and New Year period! It seems to.me that they have let Viagogo etc get away with reselling at an inflated price for quite a few years without taking any serious action, and considering that tickets are rarely checked, or only given a cursory glance, I can't see how they'd pick up tickets for which inflated sums have been paid. I suppose in the end they can only react if those who have paid the inflated prices complain.

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15 hours ago, JohnS said:

Just before the Don Q Insight (very enjoyable), I posted a response to Alex Beard’s news item on the Royal Opera House’s website.  I hope I’ve reflected the various points made above, including: asking about the Netrebko/Kaufmann Forza general booking %age availability (which I assume was lower than the 17.5% for all Forza performances); the 20% target (whether it’s still operating and if it’s per performance or averaged over a booking period); and what action is being taken in relation to tickets being sold on Viagogo.  I imagine my post is awaiting moderation.

 

Quite amazed to see no comments appearing on their News page yet....

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5 minutes ago, Rob S said:

 

I think ‘Frankie’ has a screw loose 

 

I think "Frankie" has no understanding of the duties and responsibilities of an organisation which is in receipt of considerable public subsidy.

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'Frankie' is probably a tout him/her self and is trying to justify what they are doing.

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A number of arts organisations over here (and several in continental Europe if I remember correctly) require ticket holders to present photo ID plus ticket-with-name-on at the door. And I have seen people being turned away (here, not in Europe, just to clarify) as they had bought from a third-party reseller website at more than 10% above face value. So it is possible to manage this type of touting.

 

Oh, and Viagogo is under court orders to ensure all sellers give the ticket's seat number (which would of course make tracking down the Evil Profiteers much easier) but are in violation of this. And don't seem to care.

Edited by Sophoife
Add last para. Add bold.

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It is indeed very easy to legitimately put a ticket in another's name - either at time of booking (for gifts and multiple tickets on the same booking), and in most cases up to 30 minutes before the performance commences.

 

This is of course for print at home tickets and those on one's phone screen. I have had a would-be companion change at 6:30pm for a 7:30pm show, and as long as one of the two has the tickets with correct names and both have ID, no problem.

 

Also of course with the increasing level of security at many venues the checking of name on ticket and photo ID is done at or just after the bag-check point.

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