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David

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  1. Floss - I do hope you will be re-posting this item as and when you've had an opportunity to sort it out. It looked to be an authorative and very wide ranging background to the RS affair and I for one was very much looking forward to reading it.
  2. Surely one obvious link is that Crassus is alleged to have crucified six thousand of the survivors one by one along the Appian way - though I can't find the source for this - certainly not in the section on Crassus in Plutarch's Lives. Maybe in Appian of Alexandria's Roman History? Or in Raffaello Giovagnoli' novel 'Spartoco', supposedly drawing on Plutarch and Appian, which I understand was Grigorovich's main source?
  3. Will the Cranko Estate allow a live cinema relay? Have I missed something?
  4. And of course when Pinero in 1898 entiled his comic play Trelawney of the Wells, eveyone recognised the thinly disguised reference to the Sadlers Wells Theatre - though since that play deals with changing fashions in the theatre I'm not sure where that leaves us!
  5. More to the point does it stand out, is its purpose clear, is it easily accessible from outside/from within, is space set aside for people waiting to be attended to, in other words (and I know this is novel thinking for the new ROH) does its new location and layout facilitate its function?
  6. Yes I agree it's probably the most useful link on the site. I hardly ever bother with anything else.
  7. I'm wallowing in three recently issued and IMHO very fine disks: 1. Ibsen's Ghosts: The Norwegian National Ballet & The Norwegian National Ballet School - Creation and direction: Marit Moum Aune Choreography: Cina Espejord Issued by Bel Air Classiques 2. Ibsen's Hedda Gabler: The Norwegian National Ballet & The Norwegian National Ballet School Choreography: Marit Moum Aune Issued by Bel Air Classiques 3. La Fresque (The Painting on the Wall): Ballet Preljocaj. Choreography: Angelin Preljocaj. Issued by Naxos. Comes with an excellent bonus - an explanation by Angelin Prelocaj himself. All three are available on both DVD and Blu-Ray. I guess these works will be familiar to many on the forum but they have come as an eye-opener to me.
  8. and hopefully of a bubbly, fun-loving young woman who brought joy and huge affection into the lives of everyone who knew and worked with her.
  9. The same goes for the opera season where performances are generally much more expensive. Can't really complain though - all the major companies are doing it to fund their up-coming productions. If you want to get tickets these days you have to be prepared to forward-book big time!
  10. I've been checking out the four seasons and booking dates to get some idea of my budget breakdown. It looks as if the main demand will be in the Autumn season, with the Winter a close runner - in other words, I'll have to find most of the cost for the 2019/20 season in the next five months. As others have said, castings will be decisive!
  11. Continuing in the same generous spirit, I'm also beginning to think that the extended delay in releasing the programme might be due to an effort to loosen Kasper Holten's death grip on future planning. There are a couple of unexpected things/changes on the opera side that the rumour mill wasn't expecting. Butyou're right Lizbie1 - I'm probably just kidding myself.
  12. My first reaction was that allow the entire programme to go up hours before the official press conference, particularly since it is being widely shared across social media, was breathtakingly incompetent. Now I'm thinking that perhaps it shows a more relaxed approach. If so, I welcome it. After all, this is supposed to be an age of transparency.
  13. Worrying if true coz I had pencilled in the Mariinsky. I have been trying to check it out but without success. Which opera is extending through August please?
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