MAB

Would just like to point out that Manon has been re-orchestrated before but the 'improvements' were ditched and we went back to the original, I suspect that will happen again. I love Massenet and it's fun to source the music as you go along, Lucas pulled melodies from almost all Massenet's works and I find it gels very well. I'm afraid I don't see Manon as manipulative at all, quite the opposite. Someone else has condemned her to a convent until her brother spots her market value, but the character does share some similar traits to Cécile de Volanges in Les Liaisons Dangereuses, I see her very much as a victim, it's not her fault she ends up dead. A lot of changes have taken place since the ballet's premiere and changes in costume and so on haven't been for the better and it may be the only full length ballet that actually lost an entire scene. One of the most pressing of problems is to do something with the corps de ballet in Act II, frankly their antics have to be reigned in as a matter of urgency, last night people were laughing in all the wrong places as the whores and customers distracted many in the audience with their idiocy. The are simply going too far and someone should step in and tone things down. The principals deserve better than being sabotaged by their colleagues.

I find Henze's music extremely atmospheric, for me the music reflects the supernatural elements of the ballet, together with a kind of underlying threat in places. I would give a lot to see Ekaterina Osmolkina perform the shadow dance.

I think you'll find huge swathes of British workers earn less per day than the cosy of many ROH tickets. People on pensions and benefits fare even worse.

That's quite right, I saw a dancer due to dance Black Swan that night do ninety six in rehearsal.

I'm discovering anniversary performances all over the place - just not here.

I can't help thinking all the noise is counterproductive, if it had been a regular demo e.g. placards, leafleting, it would give the patrons a better idea of their grievances and perhaps some sympathy for their cause.

As the link claims they were sacked by a third party, I wonder why they aren't protesting outside their premises?

For some of us here the 90's are relatively recent

Thought I had better post a warning about this. Last night there was a demo outside the Opera House, the noise level was excruciating as they were blowing some sort of orange trumpet things. I really pity to ROH staff as the doors did almost nothing to diminish the noise, when I came out of the lift you could still hear the racket in the amphi , though luckily not in the auditorium. I'm told it is something to do with a staffing dispute. A particularly unpleasant aspect was that they were filming people going in which I found both disturbing and intrusive. As they started about 7.20, I think they imagined their noise might disrupt the performance, hopefully when they find out it didn't there may not be a repeat tonight. The police were in attendance but were doing nothing, presumably disturbing the peace is no longer considered a crime.

Going back a few years most RB dancers had trouble with the step, though one used to do at least twenty eight. At the time I was friendly with an American who had developed a passion for the Royal Ballet and one night we went to see Festival Ballet, as it then was, in Swan Lake. The O/O was Galina Panova who threw in so many doubles and triples that I lost count. My friend was amazed and made the comment "I thought they were a step dancers only attempted but didn't achieve" Things have certainly changed.

Menage piques? Yes you're right, but some substituted the entire section. Ms Copeland would be wise to follow that example. Not all of us fetishize that wretched step, but please do them properly or not at all, alternatives are very acceptable, at least to me.

Good point, but doesn't this case refer specifically to Wagner? Is anyone familiar with the set up at Bayreuth? Personally I've never seen overspill abroad, the musicians always keep to their pit, but then I don't think I've seen any Wagner abroad. Last year at Glyndebourne they had extra percussion at the very top of the house for Hamlet but I don't know if it was for effect or simply that the extra equipment wouldn't fit into the pit.

That seems to have been the case historically with that orchestra, actually they are far better now than back in the 60's and 70's when they wrecked R&J nightly, at least Prokofiev is no longer beyond their scope.

They have no option, I'm already envisaging the compensation claims.

Where did I say they didn't? I simply made an observation.

Yes, many years ago, before she was a principal.

Apparently it wasn't an off day, with this dancer it seems it's par for the course which begs the question, why do them? Antoinette Sibley substituted turns from relatively early in her career, curiously technical whizz Plisetskaya did too. Of course Lynn Seymour simply dropped that ballet altogether (such a shame, she was lovely in it) so it isn't as if there aren't alternatives.

Reading that makes my blood run cold. I very much hope the ROH appeals. Googled the judge, she specializes in medical law and unsuccessfully defended Harold Shipman, well, I suppose someone had too.

This would seem to relate to some of the debate here, namely how far can you go in criticizing a dancer. If you look at the clip the performance is embarrassingly bad, how can she expect people to react other than negatively? I'm afraid I find the terms 'serious hate' and 'haters' used in this context highly inappropriate, clearly ballet fans have reacted honestly to what they see. I understand from NY fans that this particular dancer is very technically challenged and is famous stateside for being famous.

As a massive fan of counter tenors this casting intrigues me, however I hope it doesn't become a habit!

Pages of comment regarding the forthcoming ballet season but nothing so far about the opera, is it that dull? Personally I'm very happy about Billy Budd but all the rest is pretty predictable. I'm a little surprised there is no Richard Strauss as his works become out of copyright in 2019, thought companies would be taking advantage of that. What would you like the company to do, anyone have a wish list?

I must be extremely strange, I like the music for Ondine very much. Absolutely not Marguerite & Armand it would be an insult to her memory, Birthday Offering is a fabulous ballet when properly cast. The fourth and last part of Hommage to the Queen, Air, was created for Fonteyn and although the choreography for Earth, Wind and Fire isn't Ashton what he created on Fonteyn is.

Thank you, I'm not a member as invariably events fall on days when I'm pre-booked as is the case on the 12th (ENO). I will do my best to find someone to ask relevant questions on my behalf, perhaps someone here would volunteer.

It's been a long time since I last went to an RB press conference to announce the forthcoming season, but there was always the opportunity to ask questions afterwards, is that not now the case? Did no one there bring up the subject of Fonteyn.

Insult taken and noted.