MAB

I assume it was the pianist.

Thanks, I was surprised how few of his ballets are actually listed on line.

I'm under the impression that John Canko did a version of this ballet, is that correct? A google search bought nothing up. I have seen a picture where the caption says Cranko's Faun and I am curious.

Osteopath Margaret Papoutsis, has been treating dancers for decades now, take a look at the Dance related page on her website. https://www.margaretpapoutsis.co.uk/dancers.html I have been seeing Mararet for years, she was recommended to me by a dance professional in Paris. She is based in South Norwood, London and is a ten minute walk or short bus ride from Norwood Junction railway station

I find Cyril Beaumont the most reliable commentator on the Diaghilev ballets which he saw first hand. The problem is that we are looking back to a time when people would never dream of calling a spade a spade, therefore Beaumont refers to "the questionable character of Nijinski's movements". Beaumont also mentions the gasp from the audience. Certainly the ballet was toned down when the company took it to America and I suspect different versions of the ending co-exist. There are a great many accounts of Nijinski's life and it is generally thought that he wasn't naturally homosexual, However unlike the two successors to Diaghilev's affections he cannot be described as a sexual opportunist in the way both Massine and Lifar were. Nijinski was emotionally fragile and the life he found himself leading possibly contributed to his eventual mental collapse.

Calling them can indeed solve the problem, also they may offer seats not shown on line.

I saw this several years ago, so pleased it is still holding its own in the repertoire.

Surely if the ROH genuinely wanted to restrict their use of paper, they would reinstate cast sheets and stop selling progamme. Also the last time i went to the ROH shop they were still selling books. If they wish to uphold their 'green' credentials, they must stop that pracctice immediately.

That is a frequent complaint when Pappano is conducring.

I was pretty shocked to hear on the radio this morning that the 'just stop oil' group chose to disrupt a Carmelites performance at Glyndebourne yesterday. Why Glyndebourne was the target mystifies me as it has it's own wind tubine, something that I would have thought would make it immune from their attentions. Seeing that sporting events and even the Chelsea Flower show have suffered at the hands of these people, I suppose it is logical that theatre would be next. https://www.lbc.co.uk/news/just-stop-oil-halt-opera-performance/

There is an assumption here that all patrons are English speakers. That is not the case. I rarely buy programmes abroad, unless they are packed with pictures, my priority is to find out who is dancing/singing. I'm happy to pay a small charge as in Germany and Switzerland. I can't help feeling that this inexplicable practice diminishes the experience of the overseas visitor.

I have never been to a performance at the Bastille nor at the Garnier and not been handed a cast sheet and that includes performances of the Bejart programme and Dante Project a couple of weeks ago. Seeing as the ROH cast sheets used to carry up market advertising on the back, I'm surprised they are so ready to forgo a source of revenue.

Evening of new choreography with Royal Ballet in Linbury studio theatre, Friday12th April at 7.45. Two restricted view standing tickets Upper Circle B6 & B7 £5 each, For sale as a pair or as two singles, please send p.m if interested.

Very sorry that my thread was so offensive that it was erased. I think that says it all and therefore I won't be commenting further. Bye bye

And you haven't actually seen it, well. well. I actually said "almost undiluted praise" I would have said entirely undiluted had I not been aware of the odd reservation..

With thirty four pages of almost undiluted praise for the new Swan Lake, I'm wondering if anyone here (like me) didn't actually like it? Away from these pages opinion has been far more mixed than it appears here. Does anyone have the nerve to put their head above the parapet and give a different opinion?

Hope it didn't spoil the evening too much, I went last week and found the outdoor setting with the rustling leaves really enhanced the spookiness.

One of the opera regulars said she is the best Musetta he's ever seen, her acting abilities, sense of fun and wonderful voice all add up to an impressive package. I loved her, anyone else planning on seeing this La Boheme? The leads. Agresta and Polenzani were both good and had a couple of people sitting near me in tears. Only drawback of this new production for me is the scout hut affair that is supposed to be a Parisian attic, it's too sterile for my liking and why does poor Mimi have to die on the floor? I would have thought even poor bohemian students sleep on beds.

Do you have atm's?

Not mentioned so far is that banks are closing down everywhere and the CEO of one went on radio and said that post offices would be taking on the work of banks in the future so we should all go there instead. He didn't mention that post offices are closing at an even faster rate than banks.

This production which btw is available on line for another couple of days, is heavy on sleaze. Goro sells very young girls to American servicemen in sham marriages, the girls are basically 'comfort women'. In this production fifteen year old Butterfly's friends are in school uniform adding to the disquiet. I don't condone the booing but in this particular production, which I consider excellent, I think the audience was drawn into the story more forcibly than in other versions I've seen and reacted accordingly. Hard luck on Guerrero, a tenor I very much want to hear more of. It's a role the greats record but few have performed and the really good Pinkertons tend to sing the role early in their careers.

Yes, curtain calls. I'll be interested in seeing the response to Ptolemy at my next visit. Alcohol is always consumed at Glyndebourne, but although I've seen a production booed, it's the first time I've seen a character booed.

I have to admit to being taken aback by the barrage of booing aimed at Pinkerton at Glyndebourne earlier this week, Goro got a couple of isolated boos as well.. All the more undeserved as Joshua Guerrero was one of the best Pinkertons I've ever seen. He took it in good part. staying in character and playing up to the audience. Last night at ROH arch villainess Ortrud did not get booed. Is Pinkerton opera's biggest villain? I tend to think he is because of his duplicity. If you take another Puccini villain, Baron Scarpio, he is what he is and makes no secret of his villainy. I'd be interested in knowing other views on opera's bad guys (and girls) also if booing is appropriate in an opera such as Butterfly.

I believe it was Bourmeister who first introduced a prologue into Swan Lake and there was a very beautiful one in Robert Helpmann's RB production of the 1960's, Konstantine Sergeyev used one in the Soviet film with Evteyeva too, so as RuthE says, hardly a novelty. How effective it is depends on the staging, I think it helps for Odette to have attendants, otherwise where do her sympathetic Swan maidens come from?.

He's not of age, it's his 21st remember, so presumably about to become king and I assume his mother is regent, or perhaps like George III his father is in some way incompetent. On the other hand the title usually goes to the son on his father's death as with baby Henry VI. Like Tom Stoppard I've always had a problem with why 30 year old Hamlet wasn't king instead of Claudius.