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The Royal Ballet's Don Quixote


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I assume you are referring to the Ashton version by Schaufuss ballet.

Schaufuss has a bit of a stigma attached, ENB would sell better I imagine. And more importantly, that was a few years ago, his reputation and demand for his performances can only have grown since.

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I. Vasiliev couldn't fill the house for his R&J performances, so how will he fill it for Corsair?

 

Point well taken re the Schaufuss presentation, MAB, and they did, of course, dance all seven performances. --- He did, however, virtually manage to fill the Coli with ENB for that one performance of Le Jeunne Homme he donated in honour of Petit.  That was I thought impressive..... at least to me ... I do, of course, understand that he would not have sold you a ticket.  You have made that clear.  Still as I simply tried to say in my note he and his rare kin are commercial entities for whom many WOULD pay extra'.  How many that extra might be at any given time I wouldn't like to hazard.    .    .... 

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I thought the Royal Ballet had a policy, presumably in the 1960s, for charging extra for Fonteyn and Nureyev productions?

 

I would pay extra to see Ivan if it was something I wanted to see him in. I don't think I'm going to pay anything to see him at the Coliseum next year in Kings of the Dance as the rep seems to me to be very disappointing. However, if it was a full length ballet; particularly one I've not seen him perform before, that might be different.   Joan

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Yes, you basically need to be Placido Domingo or someone like that for the ROH to charge extra (and refund the difference if he has to pull out, as he did a couple of years ago).  OTOH, weren't there three different price schedules for one opera this season or last?

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There were three different prices for Magic Flute yes, but I think it had more to do with the days of performances than the casts (if I remember correctly both casts had performances across all prices), similarly a performance of Elektra this autumn on a Sunday night is cheaper than the rest of the run.

 

For Tamerlano/Domingo, it probably also had to do with the piece. I know that for me at least Domingo was the only reason to book a four and a half hours Handel opera I'd never heard of before (I still waited until the dismal reviews to return my ticket). I doubt they would for Verdi (I actually could have initially mentioned this spring's Nabucco where the Nucci performances were the same price as the ones with Domingo).

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