A frog

I was vaguely looking into getting a subscription a few months ago. It indeed looked like it only allowed for one ticket per production, however once you were a subscriber you could then buy additional tickets (still discounted) which I believe could be for any performance.

The Winter's Tale did have a lot of performances though. Tickets for Manon were also discounted in the last, long, run. I think that, with the exception of Swan Lake, Nutcracker, R&J, Giselle and perhaps Alice, few programmes / ballets can sell more than about a dozen performances.

Yes, between that last Manon run (and the previous short-ish one that came right on the heel of one six months earlier, I remember then empty-ish amphitheatres) and the Winter's Tale revival, the RB seems to have overestimated the audience's interest for these ballets following a very successful run (same thing with Anna Nicole when it comes to opera).

I'd be curious to know what occupancy rate they need to be profitable.

flop, as in selling out the theatre and lots and lots of people enjoying them. Here's to more 'flops'

The Winter's Tale revival sold noticeably less well already and had to have offers, the true test for any new work is profitability in the long run. Alice so far is the only indubitable success from a financial perspective.

The last pdd between Victor and the creature was the only part I truly liked.

Apart from that there was nothing truly wrong, it was overall pleasant enough. You were given a spectacle which I suppose is still a good enough way to spend an evening at the theatre.

If the RB are going to continue having a new full evening length every other year , we can't expect greatness every time, and that this was the least successful they've done since they started commissioning three-acts works again is still quite an achievement. If, in the long run, a wider proportion of the audience gets used to going to see new works and stops equating ballet with the Tchaikovsky ones or a couple of the Ashton/MacMillan (usually based on stories they're more familiar with than they are with the choreographers), I'll definitely count it as a positive.

Please could you give us the link for the ticket exchange site, Duck?  Merci beaucoups.

It's http://boursechange.operadeparis.fr/

You can set up alerts. You should have them sent to an account where you see the emails instantly as the tickets tend to be snapped up almost immediately.

Does the ABT company ever come to the UK ?

They're at the Paris Bastille opera at the beginning of September with the Ratmansky reconstruction of Sleeping Beauty.

It's pretty likely the interview took place earlier than last Wednesday, the two statements don't necessarily contradict each other. If a deal hadn't been finalised at the time of the interview, it could have been a way for him to build some outside pressure, and it seems to be working based on the reaction here and even more if people plan on asking Kevin O'Hare. If the deal had been finalised already, it can still be a way to drum up some publicity for appearances that will anyway only be confirmed when casting for these performances is announced.

The Nutcracker casting is still coming up as TBC on the website, ditto for Sleeping Beauty - is there some other source that can be shared?

Sleeping Beauty is part of the Winter season.

Row C indeed.

I hadn't looked into the row just in front as it's usually more than twice as expensive and I can't really justify it, but thank you for pointing out that here they'll be the much better value.

The balcony high chairs (row C, thank you for the correction Ruth) have recently been made available for almost all performances.

Whenever they are discussed on these boards they don't seem all that popular (I'm usually very happy with them, but I am somewhat tall), and they are here distinctly worse value than for RB performances, but maybe someone will be interested in tickets under £50 (just about).

EU students will pay the same fees as French students (there are administrative fees, but they are ridiculously low and can be waived if the student comes from a low income family), I don't know if it's different for international students.

Going to university in France might not be such a good idea though, for one thing the student had better be fluent in French as it's unlikely many classes will be in any other language (it's probably assumed but I gather that a lot of universities around Europe now teach in English). More importantly, while universities offer a good education, they are still mostly considered to be second best to business schools and engineering schools (almost no-one who's anyone in France has been to a university), the latter are often public and therefore free, the former will be private and very expensive, both have such specific entry requirements that it will be impossible for someone to enter them coming from abroad (unless things have radically changed in the past few years).

(and it felt shorter). 

It was. I thought the overture was taken noticeably fast, the first act ended 10 minutes earlier than announced on the cast sheet and the whole evening almost 20 minutes.

The production doesn't do a lot for me, but it's definitely worth going for the musical performances.

The drama had been killed stone dead by the clapping and the encore. Tosca's late entrance did not matter much at all.

 

Maybe, she was making a point......a valid one...

I doubt that's it. Angela Gheorghiu has many qualities and I'm always happy when she deigns to show up for a performance, but knowing to make her performance part of a dramatic whole isn't one of them, I can't think of anyone I've seen do more to milk applause after an aria.

Has it been confirmed La Fille would be the ballet Roberta was returning to dance? It seems likely but I wondered if it might be The Dream where the company is a bit shorter on Titanias.

Does the jury pick the nominees? I would have imagined only the prizes.

ETA: it definitely looks like it given that it's almost a 1:1 relationship, still surprising.

I'm fairly sure his name was mentioned in articles speculating about who might succeed Monica Mason. Whether this was based on anything tangible is another matter (I remember some of the names floated were based on seeing the applicants in the vicinity of the ROH, no such way to know with Johan).

You can't make individual tweets private (as far as I know), it's all or nothing. Alina's account isn't private, I doubt any public(-ish) figure's would be, that would defeat the purpose.

A couple of 7pm starts for Sleeping Beauty on Wednesdays and Thursdays even. I hope they point it out, it could easily be missed.

I'm happy to see the productions are a little more evenly spread per booking period, if I'm counting right, 4, 3, 2, and 2. It's a nice change from having five in the autumn, usually three of which were full-evening length.

Maybe, but didn't I see Placido Domingo's name among those appearing?

In Nabucco which he already performed three years ago, the production will still be the same dreary one. Given the pricing they don't seem to expect it to be all that popular.

I wouldn't worry about the site crashing, the operas on offer are pretty uninspiring.

I'm assuming perhaps wrongly that the RB dancers' contracts have Sundays as their day off and that performances then are just not an option.

They seem to be doing quite a lot of My First, and in many places across the country, it might not be of much interest for the people who post around here, but I'm guessing it brings in more than much of anything else they could be doing.

Why is it Hilarion, who is, after all, really the good guy, who dies and Albrecht, the traitor, lives?  Is it because he was more deserving, as an aristocrat, than a mere gamekeeper was?  In my book, the Wilis (or the writer) got it the wrong way round!! 

Not Another Teen Movie explains it pretty well:

Ricky Lipman: I am *not* going to let you hurt Janey again. Okay? Besides, I love her.

Jake: Well, so do I.

Ricky Lipman: [slight pause] Yes, but I'm the best friend, and I have been in front of her face the whole time, and she just... hasn't really realized it yet, but she will.

Jake: Well, I'm the reformed cool guy, who's learned the error of his ways. She's gonna forgive me for my mistakes, and realize that I really love her.

Ricky Lipman: [pause] Dammit, that's true.

I'm guessing they want to avoid a re-run of the bad publicity surrounding Guillaume Tell, I've earlier received an email warning me that as we get closer to the premiere they can confirm it is a Katie Mitchell production there will be sexual and violent content, and they point out that they have updated the production page to include a warning.

I'm going on the 11 April, I'll see then.