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amélie

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  1. Where did you get that information ? The Bolshoi website still indicates it's Kobborg's production : http://www.bolshoi.ru/en/performances/234/
  2. Thank you, but it doesn't show all productions, it doesn't have for example the Firebird/In the night/Raymonda program or the Ashton one (but it has Onegin, this makes no sense to me). I really can't understand why you cannot find on the website a calendar of the full season with all dates for all productions, and a link to the production with the opening dates for booking. It doesn't make any sense to have such an effective booking system and not this function, which seems basic to me. (sorry for the rant)
  3. If anyone can help me : I feel a bit lost on the ROH website : where can you see the opening days for general booking for ballet evenings that are not yet on the calendar ?
  4. Ah ! That could be fun, in a very dark way, especially if the opera on stage is Andrea Chénier. But no, the baignoires are just boxes on the same level as the orchestra seats. I don't like them because, despite feeling close to the dancers, the acoustics are not good, and the low ceiling really cuts the volume of the stage, it makes me feel a bit claustrophobic.
  5. I think I may have painted it darker than it really is, most seats are good. The amphitheatre gives a very good view, and most people don't seem to mind second row in boxes, even if personally I prefer to pay less and stand up. Mostly though I would recommend to avoid 3d categorie, which I don't think is worth the price difference with 4th categorie. If you are going to splurge, go for 1 or 2.
  6. Oh ! I think I can help ! Here is the seating chart for Garnier next year : and the prices that go with it The rules of the house are : even-numbered seats are on the left half of the chart, uneven-numbered ones on the right side. For the orchestra, balcony and amphitheatre : the lower the number, the closer to the stage you are. You don't have any indication of the row. (for example, Amphitheatre 17 is on the first row of the Amphitheatre) For the boxes (loges), you have first the floor, then the box number, then the seat (ie 3emes loges de côté 16 1) Again, even-numbered boxes on the left side, uneven ones on the right side, starting from the stage. Inside each box, seats are numbered : first row 1-2, second row 3-4, third row 5-6. Seats 1, 3 and 5 are always those closer to the center of the house. This is not important for the first row, but it does make a difference for the third row as boxes are separated with a wall, especially if you are in a side box. I obviously haven't tried every seat, and some people may have other preferences, but here's what I think : Categorie 1 : in red on the chart (plus Optima, but this is not used as of yet for ballets) : it's where you have the most seats, and the best ones, if you are ready to pay the price. As said, the orchestra (stalls) lacks a bit of rake, and the seat are aligned so if you happen to be seating behind a tall and bald man who likes to seat very straight (like for example my father), it can be unpleasant. The balcony seats do not have this problem. The first row seats in the boxes (loges) are excellent, if further away, and you are a bit high in the 3d loges (this year those seats were in second categorie). Seats to avoid : second row in the boxes. You pay the same price as those in front of you, but are seated behind them. Categorie 2 : in darker blue. It includes foldaway seats in the orchestra and a lot of second-row seats in the boxes, which I try to avoid as a rule. I also avoid the baignoires, whatever the price. Categorie 3 : in yellow. Again, avoid seats 3-4 in boxes. Be also careful of the boxes in center (above number 25-26) : you'll be at the back, with 6 people before you. First rows of the side boxes are alright. Categorie 4 : in light blue. Most of them are in the amphitheatre, which is, as said, very uncomfortable : narrow folding seats, without a back, no room for your legs, but at the same time seats are high so your feet may not fully touch the floor. And it can be very hot. Best seats in the categorie are 3d and 4th loges on the side (the higher the number the better) Categorie 5 : in purple. If you don't mind standing, those are the best seats for the price : third row in 1st, 2d and 3d loges, first row in 4th loges. Avoid second row of 4th loges, you'll have to stand, but without support. Categorie 6 : in green. Not sold on the Internet. Restricted view everywhere. A few seats are good, but good luck getting them. Do not buy "stalles" or 5th loges for ballet. Boxes to avoid : anything not first row in boxes 23 and 24 : they have a column that restricts the view a lot. Do not buy tickets from resellers in front of Garnier : black market is illegal. It is legal to buy and sell tickets as long as they're sold at the indicated price or cheaper. The Opera does not take tickets back, but has a secure website where you can sell (for free) or buy (with a commission) tickets here The website is awful, especially compared to the new ROH one, and you cannot choose your exact seat, merely the section and categorie. Be also aware that not all seat are sold on the Internet : it is always useful to call if you don't find anything to your satisfaction on the website. A lot of times seats are also made available later, so it is always worth checking the website regularly. Of course, the closer you get to performance day, most seats will only be in categorie 1.
  7. Actually the article doesn't discuss much the guesting policy, except to deplore the situation regarding Misty Copeland whom Acoccella considers should be a principal, but is not because there are too many guest principals. The bulk of it discusses the opposing styles of Cojocaru and Osipova : Cojocaru being a great actress, but with week feet, reminding her of Fonteyn ; Osipova as technically very solid but less interesting dramatically ("Osipova is almost the opposite of Cojocaru - much more strong, much less wise"). There is no mention of Muntagirov, and the article is not very long (5 pages on the ipad version, including the picture), and I haven't found any way to share it digitally with non-subcribers).
  8. It was filmed on march 22, with Aurelie Dupont, Josua Hoffalt and Ludmilla Pagliero. I enjoyed it quite a lot in the theater, but it was a performance with a lot of problems.
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