A frog

I think the interview reflects more of the publication than him. It's not exactly a magazine that cares about art, but they'll love a story about a good looking guy who does cocaine and parties.

There are a few other lossless formats, FLAC is the most widespread, Apple has an equivalent as well. They are about half the size of .wav files.

I once had to resell a ticket directly to another patron as it was later than the 30 minutes cut-off, ROH staff very much told us it was forbidden and said the tickets wouldn't be valid (although their first comment was that we should step outside to proceed with the transaction); but it turned out not to be the case, they let that person in.

I didn't attend that one, but at the one I went to a few years ago, some dancers didn't stay anywhere near the whole class, maybe that's what happened with Zenaida here?

I would agree with Anjuli_Bai, it is all part of a whole, and what matters is getting the balance right, or at least right enough to have a successful piece. Sets and lighting have always played a part in ballet, sometimes doing more than just highlighting the choreography (my favourite example being in the last movement of MacMillan's Requiem). I also agree with chrischris that Liam Scarlett doesn't rely on sets, they may have been elaborate for Sweet Violets or Hansel and Gretel, but they didn't take on a life of their own as was the case in Alice.

Would they be the student allocation that hasn't found any takers? That would be the least upsetting answer. Not sure I really want to know.

I usually manage to get at least one insight or SCS on general public booking but nothing this time , rehearsal went directly from not on sale to sold out, and I kept being told that the 1 ticket I tried to buy for the Giselle insight was apparently one too many. I actually miss the waiting room, I always managed to get everything I wanted then. ETA: Does anyone exactly what the deal for students is? One was telling me he was able to book yesterday. Would he have seen what was left of the friends allocation or do they have first pick of the general public allocation?

Thank you, I can put the cinema ones over my regular ones. We'll see here. I usually like McGregor, I hope that won't be a gimmick too far.

Are the 3D specs the same kind used in cinemas?

I've never seen Matthew Golding dance so won't judge, I'm happy to get to see a new dancer. But the thing that surprises me most is that I seem to remember that Kevin O'Hare seemed to be saying he wouldn't be looking into importing dancers or having guests. Does anyone know what made him change his mind? Or am I misremembering the particular circumstances or phrasing that make the recent casting decision in line with what he was initially announcing?

I'll just echo what everyone else said, no SCS, even my favourite amphi seat which is usually fine was taken for almost all the performances I checked. Still managed to get a few things I'm happy enough with and at least it didn't crash this time. I'm really regretting the time when ticket limits were per production.

5'8" apparently.

There were three different prices for Magic Flute yes, but I think it had more to do with the days of performances than the casts (if I remember correctly both casts had performances across all prices), similarly a performance of Elektra this autumn on a Sunday night is cheaper than the rest of the run. For Tamerlano/Domingo, it probably also had to do with the piece. I know that for me at least Domingo was the only reason to book a four and a half hours Handel opera I'd never heard of before (I still waited until the dismal reviews to return my ticket). I doubt they would for Verdi (I actually could have initially mentioned this spring's Nabucco where the Nucci performances were the same price as the ones with Domingo).

Not if it's within the same run, people who saw the recent Don Carlo with Jonas Kaufmann and Anja Harteros paid the same as those who saw it with the B cast for instance.

According to Zoe Anderson's history of the RB, they indeed did.

I assume you are referring to the Ashton version by Schaufuss ballet. Schaufuss has a bit of a stigma attached, ENB would sell better I imagine. And more importantly, that was a few years ago, his reputation and demand for his performances can only have grown since.

Current prices for ENB Le Corsaire are valid until the end of the month. It's up to them to decide what high demand is, but there seems to be plenty of tickets available for most performances.

The ENB website states that the prices for Le Corsaire at the Coliseum may increase if there is high demand. I think it would be for the whole run though. And to rebound on the Titian bill, there was no surcharge on the fist night, but tickets were more expensive than for other triple bills (understandable given that it apparently will never be repeated)

I'll agree on the under-starred part (outside of the guests, there are two dancers I would call stars), but not perilously. There are plenty of dancers among principals who are great even if not stars. And it's not like the general public really cares anyway, or to put it another way, how many stars can there be in one company before it ends up making them all non-stars?

A few tip for returns which may only be superstition, but they've usually worked for me. Returns can become available at any point, but there are more the closer the date of the performance is. I usually check the the website around 10.00-10.30 assuming that some return their by post and that's when the box office will start processing them. You're also more likely ot find a ticket closer to the performance. For the day tickets, if you are unable to join the morning queue, the tickets are sold online once everyone who was there in person has bought their ticket, this is usually around 10.30, this is of course less likely to be possible for the most popular performances, the tickets available might not be the best. This is however how I've managed to get a ticket for Alina Cojocaru and Johan Kobborg's farewell performance. I've always been able to get tickets to what I wanted to see, there's no reason why you wouldn't be able to get one.

We're happy for students to attend, but as many have pointed out, not being a student doesn't mean you are suddenly rolling in money, my cultural life certainly suffers from not benefitting from all the discounts anymore (i'm still in my twenties). As you say, you've been able to attend before on cheap tickets, and nothing so far prevented you or anyone to buy those tickets, we don't object to students attending, we object to what is to us the most valuable tickets most likely no longer being available, and 10 tickets is quite a high proportion of the stall standing tickets.

I don't know enough to fully agree or disagree with Carlos' statement, but at last year's YBDY award, I remember being rather surprised that most of the best dancers were boys, and the awards certainly seemed to reflect that. I haven't been able to attend this year's award so don't know if it's a trend. And regarding black ballet dancers, if anything the existence of Ballet Black makes his point. The company was created because it was the only way for Black and Asian dancers to find roles and employment.

Thank you for the insight Irmgard. I had no doubt that the days during the tour were busy, class was a given. I just assumed that when touring, space for rehearsals was harder to come by, and I wasn't sure how that worked out.

It's also possible that Alina Cojocaru joining the company will see an increase of donations to the company. And particular guests could maybe be sponsored, as is the case for some opera singers?

I agree with Meunier that the music is sometimes what gets newcomers through the door. Besides the Carbon Life bill (in my experience, Mark Ronson was the bigger draw, for me it was Alison Mosshart but I digress), even for the classics, I find it much easier to get people to come to the Nutcracker or Swan Lake because they know the music, I remember inviting a friend to see the Nutcracker, she only agreed after listening to the music, she probably would have gone to any company, and the dancers really didn't matter I also know someone who claims not to really care about ballet but will still very happily go see Carlos Acosta in pretty much anything. To answer the question, at first I go for the company, once I get to know them, I navigate towards dancers in particular. But so far the only company where I actually make decision based on the cast is the RB, it doesn't help that most other companies I get to see where it would make a difference don't necessarily announce their casting (much) in advance. In cases like the ones in the article that started the conversation, I would go see all those dancers regardless of the company, not quite in anything, but I'm sure they are savvy enough about their careers that they will only appear in shows they believe in.