MAB

As Lucia is based on The Bride of Lammermore by Walter Scott, clearly Scottish literature wasn't part of the syllabus.. I'm not against imagination in opera productions. I recently saw a Guilio Cesare inspired by Agatha Christie's Death on the Nile. At one point Cesare, in a white tuxedo, steps up to a 1929's style microphone to deliver a major aria. It was an evening of total joy, the producer did something entirely original without alienating his audience. I find fewer monstrosities on my European Opera jaunts. Perhaps the new opera boss will make wiser production choices than we see in London at present. My fingers are crossed.

Sorry. but what kind of mind comes up with this stuff? On a brighter note I thoroughly enjoyed Handel's Arianna in Creta at St George's, Hanover Square at the weekend. I'm starting to find concert performances of operas more and more attractive, which is strange as in the past I never cared much for them.

Had the late Clement Crisp made such a remark would you have accepted it? Buru seems familiar with the ballet and has seen other productions and is therefore not an SL novice. Surely it is best to be honest about what you see, after all it's only by experiencing the less good that you recognize the exceptional when you finally see it.

You're unlucky, we Londoners see the back catalogue. it's strictly rationed though.

I don't know of any other major house that operates in the same way. I'm getting sick to the back teeth with clambering over push chairs and competing with non opera goers for a seat on the amphi terrace. Even San Carlo with a huge refreshment area and adjoining garden is strictly for patrons. A shame ROH didn't have the imagination to follow the Monte Carlo model and build a casino to subsidise tickets.

Yes, I know, I'm becoming increasingly familiar with them.

A reason why so many opera goers I know are refusing to go. Opera directors! Put them in Room 101.

There was no fight. It was a mental health incident. I was sitting close beneath the slips and a friend was sitting in the slips who saw what I could only hear. Eventually the police sent for an ambulance. Hopefully the man is receiving the care he so obviously needs. A word of thanks to the ROH security staff who had to deal with a difficult situation and were subject to some dreadful verbal abuse. Thankfully these incidents are very rare and I hope those in the vicinity that were badly scared won't be put off from returning to ROH.

Of course the above discussion about New Orleans set me thinking. Wasn't New Orleans Spanish not long before? And wasn't it part of the Spanish Main? So surely to be truly authentic shouldn't it be peopled with Jack Sparrow lookalikes and men with wooden legs and parrots on their shoulders?

I remember it well, I saw all those companies that year and in February I made my first of many trips to Russia. I would give a lot to have a season like that again. Trips abroad will eventually bankrupt me.

Okay, if this is to turn into 'nominate a foreign star' If it is not too arrogant a suggestion. Giorgi Potskhishvili

If the director wanted a foreign star he could probably have secured Jacobo Tissi and/or David Motta Soares when they left Russia,. He didn't. With the RB's unique repertoire, dancers coming up the ranks would be a better fit for leading roles than those from different backgrounds. I've no objection to an occasional guest, but it would have to be someone very special.

I would have no objection to a dancer from outside who has danced with the company previously (e.g. Shklyarov) but at this point I would have the most strenuous objections to an outsider being parachuted in as it would block the progress of some very talented RB dancers. Can this subject for discussion please be a separate thread? This one should be solely about Alexander Campbell.

Yes.

I'll second that. Corsair at the RB has always been reserved for the likes of a Nureyev or an Acosta, never for those further down the ranks. His partner, Marianna Tsembenhoi, really impressed a fellow old timer who like me can remember RB principals a few decades back whose attempts at fouettes were downright embarrassing. These twp convinced me the future looks very bright. A special mention for Marianela Nunez. She had danced an emotionally grueling three act ballet the night before and instead of putting her feet up the next day she happily contributed to the cause. What a star!

AtaXia by Mcgregor was the one I found intolerable. The pain in my ears made it impossible to concentrate on the ballet. A lot of people walked out and I was about to do so myself when it mercifully came to an end. I don't think it was revived.

And in so many of his roles he had a warmth about him that radiated across the footlights, that's something that made him so special for me.

From the audience reaction to Creature the night I went, ENB would be mad to ditch creature.

Is it a thread to ask if there will be a flower throw? Unfortunately I am having surgery on the 8th so cannot be there, but would love to contribute to the atmosphere of his farewell.

When I saw it Sadlers Wells was packed. Far from a mistake in my book. On the other hand that Raymonda sounded so outrageous I never bothered to go.

Would you care to further explain your opinion? Are you in possession of a poll of Ukrainian ballet goers, or perhaps someone with ill intent has inspired you to make this post?

Indeed Fiona. I note there was a complaint on the Ukraine Gala thread regarding high prices, also performances on Sundays. I will reiterate that west end prices are just as high and can be higher and that Sunday is the best day for dancer availability. Regarding comments about announced dancers not appearing, I will say that arranging these events is as difficult as herding cats. People should bear in mind that dancers agree in good faith but may have to withdraw for a whole range of reasons beyond their control. injuries, family illness, visa complications and withdrawal of permissions by company directors can all play a part. A little understanding would be in order.

Firstly I have no idea whether the Palladium has offered the theatre for free or not, The timings for these events often have to do with availability of the venue and it has to coincide with the availability of the artists performing as well, Dancers are usually free on Sundays wherever they hail from. It is therefore the most convenient day of the week for them, I believe the performance starts early at 6pm meaning the audience can depart an hour and a half earlier. I have it on excellent authority that venues will suggest the seat prices and expect impresarios to fall in line with their 'recommended retail prices', I do not know if that is the case for tomorrow;s event or not, but it is worth bearing in mind. Also worth bearing in mind is is the fact that top west end prices average out about £140, one west end musical charges over £300 for the best seats in the house. If people can't afford that then those shows would close, but that doesn't seem to be the case. As to the Palladium not hosting ballet, I've seen rather a lot there, much of it highly memorable, Plisetskaya's Dying Swan, my first sight of Manuel Legris and going much further back, Maina Gielgud dancing while her uncle, Sir John, recited Shakespeare. Hopefully tomorrow will leave me with similar indelible memories.

It has its admirers, but generally speaking I'm not one of them.

I've a horrible felling that this may be the beginning of the end for ENO.