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penelopesimpson

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  1. Well, prs59 I can say you are unlikely to be disappointed by Kaufmann. I have seen him twice now, on both occasions spending an obscene amount of money but the experience was so worth it, even with an opera like Forza which, frankly, I think is a bit of a mess. His Othello when he made his debut in this role at ROH was really something and the tension and excitement in the house was palpable. As for booking packages there is really not much to know. Unless you are a Friend, they usually go on sale to the General Public a few days before General Booking opens. They are a way of getting a little bit of money off your tickets if you are a frequent visitor. You will see on the Packages page that there are different types - ROH recommends or Design Your Own. I use the mix and match ballet and opera which has the least discount but is still worth having. Until recently, we used to get champagne and programme vouchers as well, but the best I have managed this time around is a voucher for one ice cream! I hope this was helpful. However, I want to say I am disappointed by your complaint, the more so because it has, apparently, resulted in a regular poster being censored and their post removed. I started this thread and it is clearly titled Fun and Games with Package Booking, NOT ballet packages. Yes, it is correct to say that this is principally a ballet forum but posters frequently mention general things about the much-loved Opera House. We provide helpful advice on travel difficulties that may affect those visiting, recommend restaurants and all sorts of other little things that widen out our comments from simply remarking on Muntagirov's long limbs or how many fouettes Sarah Lamb may have done.....Your request that a subject be shut down simply because it was not of interest to you seemed to me to be entirely outside the courteous and respectful spirit of this forum and I regret that the Moderators have taken this action, as much as I object to your wish to censor.
  2. Yes, can't fault his technicality. I'm not sure about RB stifling him. I think it was more that he was a mature dancer who had always performed in a certain way and that was his style. Interested in what you say about Onegin. I have never seen this ballet so have that treat to come and would welcome advice on casts. Generally, it is Francesca and Ball's style that floats my boat and, of course, Osipova is always wonderful.
  3. Well said, Bridiem. This website is generally not a culprit but so much of language has been distorted these days. If you say you don't like something or someone, you become a hater. If you make a criticism, it is bullying. If a negative comment about a person who is not white Caucasian is made, you are a racist. It is so tiresome and, like the little boy who cried wolf, means that people who are genuinely being any of the latter, slip under the radar.
  4. Take your point, Fiona, but the only thing Matthew Golding ever convinced me of was that I wished I had booked for someone else. Like DH, for me his style is not RB
  5. Great review, Maryroses. I also have problems with Hirano and since his below par Mayerling, have stayed clear. And then up he pops in a character role and I think wow. Then the saga starts again. I think I have decided that for me, despite his strong technique and undoubted stage presence he isn’t a leading man.
  6. Err, then why read it? It might have started about Opera but actually relates to the Friends system that operates across ballet and opera. Shutting down topics of debate because you personally aren’t interested seems somewhat OTT
  7. James, absolutely delighted to hear such a positive review which gives me the impetus I needed to book for Osipova’s Swan Lake
  8. That’s a very good point and I can absolutely see why they do it and approve. It might be a solution at ROH for the once in a year performances that are massively over subscribed. I probably see 6-8 operas a year so don’t know if that would qualify. Of course the difference with ROH is that it’s unlikely ever to be one performance - usually 4-6 for Kaufman et al. Of course, the puzzle in all this is Why R O H have taken this step. If we knew that, we might be able to suggest a solution. But holding 20% of tickets for General Booking doesn’t seem particularly onerous or unreasonable. It’s not as if we’re asking them to sell them any cheaper. Friday Rush is alsodiscrinatory as it’s no good at all if you live outside of London.
  9. Lizbie they are my choice of words and I stand by them. Tickets ARE available and HAVE been released.
  10. Look, I wouldn’t agree with it BUT I wouldn’t be making such a fuss we’re it not for the hypocrisy and obfuscation. If ROH want to make some productions available only to Friends, then so be it. Instead they seem to be trying to do it through the back door and one can only guess At reasons for their lack of honesty, probably disapproval from the funding bodies. I struggle with your point about Friends being a better sort of customer, more dedicated and loyal. I am guessing that even a quick look at the friends roster would reveal some pretty high net worth customers who buy opera tickets for all sorts of reasons. If we start going down the who is most worthy route which is surely a road to perdition, I could argue that just because I donot struggle up from Dorset to see Simon Boccanegra ( and absolutely nothing will tempt me to see it again, not even Jonas), doesn’t disqualify me from wanting to see Fidelio. This isn’ t a loyalty scheme where you get one goodie if you see three duds!
  11. So what would you call no tickets being available to non Friends and no plans to provide any when General Booking opens? Bar and banned are indeed NOT nice words - but then neither is the action.
  12. Lovely post Shiya. Comparisons are not always appropriate and I appreciate everybodys views even if I don’t share them BUT to those questioning Campbell’s technical competence today, I can only guess that they haven’t see Halberg.... i thought this was far and away Campbell’s best performance to date, right up there with his Oberon. I believed in him, felt the pain of his love and the conflict with Lescaut. Whilst Muntagirov may have godlike status on this forum for his astounding technique and the sheer beauty of his lines, there are times when I want something a little more earthy, more real, more approachable and Campbell gave us that today, his performance shining even more brightly because of the wonderful contrast with Lescaut as executed by Corrales. For me the only dancer with the whole package of the type that kicks me in the gut and makes me shiver, is Ball.
  13. Well quite. I though he was absolutely perfect in every way and I speak as someone who has, on occasion, been critical of Campbell. Yes, he was an entirely safe pair of hands today and you could see that Francesca had complete trust in him. But he was much more than that; I believed in his love for Manon which was an all embracingTill Death us Do Part kind of love and the more heartfelt for it. Core ales had the role of showman tonight - corrupt, venal and weak - which meant Campbell’s portrayal of De Grieux was a sharp contrast. I felt the. cast had a holistic feel about it so all the parts worked as a whole.
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