SusanR

This ticket has been returned to the box office.

Thank you so much for the information. I didn't know that. In the email I received the other day it said no refunds due to train strikes.....I would be very happy with a credit, so thank you for letting me know.

Due to there being NO trains from my area on Saturday 5th August, I am reluctantly selling my ticket for the matinee of Jewels.

The seat is A18 in the stalls circle. The ticket cost £70 but I would accept £50 if anyone would like it.

Devastated to hear this news. How tragic. He was so young and talented. I feel so sad for Liam & his family.

Lovely photos DonQ!

Beautiful! Thank you.

What a wonderful performance from all the dancers at yesterday's Manon. It will long remain in my memory! Francesca was so beautiful & Alexander's partnering skills brilliant. I was sitting in the stalls circle, near the stage & Alexander seemed so distraught as Manon died. Corrales was a fantastic Lescaut. Those, jumps & turns & perfect landings! Magri was great too. Loved it, although I had a dreadful time getting to the Opera House. However, when the ballet started I was transported & forgot my stress.

Thank you for the information, BBB!

I am worried about this too!

1 hour ago, Richard LH said:

Fair point Susan, these bench seats do seem overpriced, given that for £67 you can also find some individual seating in rows B and C which have pretty good views.

I recently sat in row B of the stalls circle for a performance of ' The Bright Stream '

It cost  £27! And that was for the Bolshoi. Much more acceptable price. True, I was very close to the stage but I had a brilliant view. I feel that patrons sitting in what were the cheaper seats are subsidising the 'Open Up ' & I'm not impressed.

4 hours ago, capybara said:

In today's edition of The Times, Debra Craine makes Manon one of her choices. She says, ".........barely 18 months since the ballet's last outing. Audiences, it seems, can't get enough of this tale............"

She is seriously mistaken. Only 4 days from the opening night, only one cast is hovering around being 'sold out', two casts are doing OK too, two casts still have a surprising amount of availability (especially given who is featured) but, alas, two casts  have sold very, very badly. Overall, there are several thousand seats still available. This has to be unprecedented.

Manon is my favourite ballet & I wanted to book for the Hayward/Campbell matinee, however, when I saw the prices for the stalls circle, where I like to sit, I was flabbergasted! How can they justify 

£67 to sit on a bench, with a restricted view?  Those benches are incredibly uncomfortable & I only sit used to sit there because they were in my price range. So disappointed that, yet again, I have been priced out if the art form that I love. I have been going to the opera house since the late eighties but can barely afford to go now. I thought the opera house was non elitist.

I stopped going to SW when they started allowing food & drink into the auditorium! I did write to them about it but got an unsatisfactory reply. Don't understand why people can't abstain from eating for, at most, a couple of hours!

2 hours ago, Don Q Fan said:

Well, as my pen name suggests Don Q is my favourite ballet.  This latest version of DonQ from the Bolshoi (which they first brought in 2016) is not as good IMHO as the previous version which was much better as that lacked the rather incongruous jig dance which is possibly better suited to Corsaire or a panto.  That aside I enjoyed both Friday night (Krysanova/Soares) and Saturday matinee (Sevenard/Belyakov).  My only gripe for the matinee was the Queen of the Dryads did not dance any Italian Fouettes - technically really hard so I guess they were beyond the capability of Alexandra Trikoz - even then those that were danced on Friday by Olga Marchenkova were not perfect.  Really in my experience the Queen of the Dryads is a Principal or strong First Soloist role.  I know the Royal Ballet dancers struggled with this in the first run they danced of DonQ but the last run they seem to have it sorted.  

Krysanova's fouettes were absolutely amazing, with triples thrown in, and Sevenard managed her set well too.  I really enjoyed seeing Soares and found him to be a very elegant dancer.  Artemy Belyakov is, I think, a natural Basilio he really suited the role and gave a strong performance yesterday afternoon. The Grand Pas variations danced on Friday by Anna Tikhomirova and Ana Turazashvili were lovely and those 2 ladies are really great dancers and I always love seeing Anna and Ana.   I found both Espadas enjoyable (Biktimirov on Friday and Alexeyev on Saturday) but Vitaly Biktimirov will always be a favourite if I can't have Andrei Merkuriev!

The matinee was also the first time I have ever seen the Bolshoi Don Q with a different DonQ! Nikita Elikarov made a great job of the role and has clearly been well tutored by the usual Don, Alexei Lopaervich, but then he has improved on what I already thought was perfection, so the role is safe in his hands as retirement (or fewer shows) must surely be looming for Loparevich.  A spirited young dancer Elikarov was too when I met him at the stage door after and he must be one of the tallest dancers in the company.  

I have enjoyed the Bolshoi Season,  but I must lament the woeful under use of Anna Tikhomirova, how I would have loved to see her dance Kitri!  

I agree with the post above that nothing will ever quite compare to "that Friday night" at ROH (was it 2009?) when Osipova and Vasiliev wove their magic and brought the house down with their electric performance.  They did the same again on the Sunday matinee of that run too.  However, the Friday was the show that really was an extra special performance, it is one that lives long in the memory and probably I will never see the likes of again in my lifetime.  Wow that was a night to remember and no, nothing else comes near it!

 

A few photos from Friday and Saturday Matinee:-

Krysanova/Soares

Vlashinets/Biktimirov

Krysanova (as the Dream Scene's Dulcinea)

Anna Tikhomirova and Ana Turazashvili

 

From Saturdays Matinee

Sevenard/Belyakov

Kristina Karasyova and Ivan Alexeyev

Erick Swolkin, Daria Bochkova, Nikita Elikarov, Eleonora Sevenard and Artemy Belyakov

Fabulous photos, as usual, Don Q Fan

6 hours ago, Bruce Wall said:

 

Capybara, I would be grateful if you had quoted my entire entry.  I was NOT referring to Biktimriov - who, it is true, I have always admired - but, as clearly noted, 'one of the lads of the Fandango team (stage left side)' in terms of his unique headdress.   Somehow I can't imagine as consequential an artist as Biktimirov - who clearly was NOT in the Fandango section - donning such.  Blessedly Rob S had no difficulty in figuring my FULL statement out for which much appreciated thanks as much for that as for your stunning photo.  So beautifully framed.  

 

I am a big fan of Biktimirov too, Bruce. Sorry I didn't get to see him this time round!

To be honest I usually only go to matinees on a Saturday. It was unusual for me to go to ballet on a weekday evening but I had bought the ticket at the last minute from a forum member. I'm so glad I was able to see the Bright Stream. I absolutely loved it, getting home a different story! I agree LinMM earlier starts & midweek matinees would be good & accurate timings on cast sheets too! I do hope you sleep better tonight.

Yes, Alison I do use the tube, but as I don't live in London, I only top up my oyster card as & when I need it. On Thursday I tried to top up but there was something wrong on the website & I couldn't do so! I made the decision to use the bus which was a mistake. I was very stressed as I live between Littlehampton & Worthing & I really needed to catch that last train. At my station there are no taxis or buses & I have a 20 minute walk home. I am dedicated to my art. I usually only go to evening performances on a Saturday, when there is a later train. Honestly, in the 21st century you would think that travelling a mere 50 odd miles home would be a breeze!

As I have been called out for the heinous crime of leaving the ballet early, I would like to tell you of things that annoyed me on Thursday. The woman in the row in front of me who had backcombed her hair, meaning there were times when I couldn't see the dancers feet because of her hair. The couple next to me ( bench seat in the stalls circle ), the woman invading my space, the man guffawing loudly & the pair of them making comments throughout! On other occasions I have had to put up with audience members breathing their garlic breath in my direction & once, a man tapping his feet & humming along to the orchestra.

10 hours ago, capybara said:

Because of the prices (although the RB is catching up fast!) I'm watching The Bolshoi from an area of the ROH where I don't usually sit and which seems occupied by people who just HAVE to leave the moment the first curtain comes down. This is fair enough when one is on the end of a row and can do it surreptitiously but I can't get with all the pushing past which goes on around me.

OK - Spartacus is a long ballet, can overrun, and trains are calling. But Swan Lake and, especially, The Bright Stream are relatively short (only one interval), the latter finishing at least 10 minutes ahead of the website notification. And matinees - what's the rush? I don't like being 'required' to make way for people as I feel implicated in the discourtesy to the dancers. Indeed, such was the 'push' after one performance of The Bright Stream that I felt I had no alternative but to be swept out as well.

For me, sitting and applauding (and sometimes cheering) is part of the overall experience. I want to respect and acknowledge the dancers and there are occasions when I need a moment  to calm down or to reflect.  I feel that I have been deprived of that this Bolshoi season.

 

 

I am one of those annoying people who have to leave promptly to catch a train. I don't like doing it. I would dearly love to stay to the end & show my appreciation to the dancers. I very rarely book mid week evening performances as my last train leaves at 10.15. However, the Bright Stream being a relatively short ballet was ideal  so I thought. The cast sheet stated that the performance would end at approximately 9.20 which would have given me plenty of time to reach Victoria. However it was 9.40 when I left the opera house. I ran all the way down to the Strand for a bus which took a long time to arrive. I got to Victoria at about 10.11 & it is a very long walk to the platform! I had to run to catch my train & I made it with about 2 minutes to spare. At the age of nearly 70 I do not need this stress. It would be so helpful if performances could start a little earlier. I know I am not the only one who has this problem. 

Thanks Alison

Please may I buy your ticket? 

I am keen to buy a ticket for Astana Ballet in the Linbury but I am not sure where to sit. I have read some negative comments about sightlines. Perhaps someone could enlighten me? I am thinking of the stalls.

I haven't bought any tickets! The cheap stalls circle seats are now ridiculously expensive. Looks like I will have to rely on the live relays at the cinema. So disappointed with ROH.

I am so sorry to hear this news. I never met John unfortunately. He sounds like a lovely man.

Thank you Maryrose,

I was beginning to think I was in a minority on this subject! I really wanted to love this ballet, in fact, I was the first person to book when it became available for booking at my local cinema. However, I was so disappointed. I agree about the sensuality in L'apres Midi, but, in my opinion,  it is not appropriate in Victoria. Apparently, Victoria & Albert were crazy about each other so why couldn't Marston show that side of their relationship instead of the predictable sex?

58 minutes ago, jmhopton said:

The Preston Odeon printed off cast list/plot synopsis for us. However, the 2 gentlemen sitting next to me left in the interval saying it was 'absolute rubbish'.

The Cast list mentioned a website www.cinemalive.com who describe themselves as 'one of the world's leading producers and distributors of Premium Event Cinema'. They also list NB Dracula and other ballets by Australian Ballet including The Merry Widow and Spartacus as well as more pop based and also theatrical events.

12 hours ago, alison said:

People who were asking about casting: it's very difficult, simply because of the fact that so many dancers swap in and out of parts.  I think I was there for the performance which was filmed, and trying to reproduce the cast sheet would have been something of a nightmare (incidentally, I could wish they hadn't run the credits centrally, as they obscured the dancers who were taking their bows).  I was a little late to the cinema, so if there was any preliminary introduction I missed it.  I think someone provided a link to the synopsis in this thread, didn't they?  I know I certainly needed it.

 

 

I wondered if that was actually the point?  From everything I've

12 hours ago, alison said:

People who were asking about casting: it's very difficult, simply because of the fact that so many dancers swap in and out of parts.  I think I was there for the performance which was filmed, and trying to reproduce the cast sheet would have been something of a nightmare (incidentally, I could wish they hadn't run the credits centrally, as they obscured the dancers who were taking their bows).  I was a little late to the cinema, so if there was any preliminary introduction I missed it.  I think someone provided a link to the synopsis in this thread, didn't they?  I know I certainly needed it.

 

 

I wondered if that was actually the point?  From everything I've gathered, I believe Victoria was quite explicit (for Victorian times, at least!) in her diaries about sex, so I wonder if we were supposed to be experiencing something of what Beatrice felt which caused her to tear those pages out of the diary?

gathered, I believe Victoria was quite explicit (for Victorian times, at least!) in her diaries about sex, so I wonder if we were supposed to be experiencing something of what Beatrice felt which caused her to tear those pages out of the diary?

12 hours ago, alison said:

People who were asking about casting: it's very difficult, simply because of the fact that so many dancers swap in and out of parts.  I think I was there for the performance which was filmed, and trying to reproduce the cast sheet would have been something of a nightmare (incidentally, I could wish they hadn't run the credits centrally, as they obscured the dancers who were taking their bows).  I was a little late to the cinema, so if there was any preliminary introduction I missed it.  I think someone provided a link to the synopsis in this thread, didn't they?  I know I certainly needed it.

 

 

I wondered if that was actually the point?  From everything I've gathered, I believe Victoria was quite explicit (for Victorian times, at least!) in her diaries about sex, so I wonder if we were supposed to be experiencing something of what Beatrice felt which caused her to tear those pages out of the diary?

9 hours ago, Sharon said:

I have always enjoyed Cathy Marsden's ballets, I love her narrative approach and I find her choreography highly inventive and individual. This was displayed especially in the Victoria/Albert pdd and the pas de trois in act 1. Some of the lifts were amazing. Someone wrote that they found the pdd embarrassing??  I found it to be 'real'. But that comment made me laugh -remembering the outraged audience in Paris when they saw Nijinsky's  Faune humping the nymphs shawl. 1912 -2019, some things never change.😂

The alarm went off during the film and the lights came on, before any of us had the chance to moan, a woman announced that we had Beatrice in the audience. Then Pippa Moore introduced herself, explaining since she was from Liverpool she had decided to watch the film -for the first time, here with us. We then had a spontaneous question/answer session with her. As usual she was delightful and answered all questions and even explained the storyline to those who were confused. I was greatly relieved when she told us she is in fact remaining with the company to coach and pass on her roles to the younger company members. If that's what happens when the film is interrupted - I'm ok with that! Thank you Pippa.

Was this the best ballet I've ever seen by Cathy Marsden? No. I've enjoyed her others more. But there were undeniable moments of pure brilliance and creative ability that is astounding. Which is why I will always go to see any/all of her ballet's and I eagerly await the next one!

I'm so sorry you found my comment about the pas de deux between Victoria & Albert so amusing Sharon! In my world, less is more. I would much rather see such moments in my imagination, but these days everything is on display. So crass. By the way, the name is Marston......