Timmie

52 minutes ago, Geoff said:

 

...Katie Mitchell - but perhaps I do her a disservice - appears to have a bias to "action", "drama", "words"...i.e. the "text" - so presumably thinks what the orchestra is doing is merely an accompaniment to the important activity on the stage. This, I submit, is a misunderstanding of the particular art form...

 

...So in answer to your question, not someone who knows how to listen to music and respond to it intelligently...

Interesting comments Geoff, they probably sum up where I am in my operatic appreciation journey and why I enjoy Katie Mitchell’s productions 😄. I am happy though that this has got me into opera. (My first Carmen tonight and Lucia next week).

Thanks Geoff. Definitely the bel canto in this that made me sit up and listen when it was on Sky Arts a few years back – I could not believe what I was hearing, and the cinematic production is very eye-catching, though not to everyone’s taste I guess.

I’m not sure if the sound of running water is a good idea anyway during a long opera, so good that’s gone. I’ll be watching the recording tonight so I’ll see if I notice the water on that. Studying the music is a bit out of scope for me but I do like to learn some of the key arias so I can enjoy without needing the surtitles.

I’ll get a Redpath ticket and maybe read the book later. Thanks for the tips, appreciated as ever.

It was the ROH Diana Damrau recording of this production that got me into opera and, before I see it live for the first time, I have some questions if I may.

In another thread Geoff said that there had been some changes in the recent revivals, any more detail on this please?

The production has some split screen effects with a divider allowing different sets either side, does this mean there are any parts of the auditorium where views may be less good?

I’m booked to see Nadine Sierra but planning on getting another ticket. Any thoughts on Liv Redpath as Lucia? Or stick with another Nadine Sierra? I did like Sierra very much in L'elisir d'amore.

Edit: would it be helpful to read the book beforehand?

On 11/11/2023 at 21:12, Emeralds said:

...if any forum member is going, it will be interesting to hear if the opera format is enjoyable...

I did see Jephtha and unfortunately I was somewhat underwhelmed. The singing was nice enough and the orchestra was clear and crisp but I didn’t feel much drama, the oratorio nature of the work may explain this. I did very much enjoy Alcina last year and Arminio this year so whilst I am an opera newbie I do love Handel, just not this.

I guess it’s hard to do a meaningful comparison and it’ll vary a lot from production to production as well. I was at a socially distanced Magic Flute with lots of empty seats and found the front of the balcony much better acoustically than the back which I guess is the muffling effect of the low ceiling.

(Other patrons were very few and the usher was happy for us to move about a bit).

Interesting topic. I haven’t sat in that particular seat but I do find the central region of the amphi to be the best for sound. Amphi F48 is one of my favourites, good sound and end of row.

For the reasons JohnS listed I think Stalls H6 is the best seat in the house, never actually sat there though 😞.

Worst seat for sound I’ve been in is Orchestra Stalls A29, at the very front and extreme right. Next to all the noisy instruments so I couldn’t hear anything else a lot of the time!

On 28/09/2023 at 01:33, Irmgard said:

... If you go to Elisir, you will realise that you recognise a lot of the music as John Lanchbery used it (and bits from Barber of Seville) when putting together the score for La Fille mal gardee 😊.

Thanks for mentioning that 🙂. It probably explains why I kept getting mind’s eye images of Marianela Nunez flitting across the stage during last night’s Elisir!

Yes! And I've no idea what Jephtha is about 😁 so I'm looking forward to the Insight on YouTube.

I’m a bit of an opera newbie myself. With what’s on now and soon then definitely L'elisir d'amore is a great starter opera and as said it has the same sort of cheerful feel as La Fille Mal Gardee (I’m going tomorrow 🙂).

I’ve also quite surprisingly discovered that I love Handel. Jephtha is coming up so that may be worth a look.

Il Trovatore on BBC Radio Three tonight at 6:30pm. I couldn't believe Jamie Barton’s vocal range in the theatre so I'll be listening to hear that again!

This was really very good last night. My first time seeing Lise Davidsen and she was amazing, she can go really loud 😄. I loved Yulia Matochkina as Princess Eboli, beautiful voice and lovely stage presence, probably the most emotionally involving of the characters for me.

Thanks for recommending this Geoff and Scheherezade (and I got the 25% off 👍).

On 25/05/2023 at 10:31, Fonty said:

...perhaps she is trying to put way too much drama into the role?...

23 hours ago, bridiem said:

...And there's no point trying to be a MacMillan character if everyone around you is Petipa...

I did see Osipova’s Aurora on Monday and it was really not a MacMillan performance or in any way over dramatised. It was a beautifully nuanced and graceful performance with charming girlish details throughout. It’s the only Sleeping Beauty I’m seeing this run and I am very happy I chose Osipova 🙂.

1 hour ago, Paco said:

…It was all music and poetry, not technic...

Thank you for this wonderfully detailed explanation. I’ve seen Osipova a number of times before and this performance as Aurora was unlike those other performances, now I understand why 🙂.

14 minutes ago, LinMM said:

…a very animated “in the moment” dancer which I very much enjoy …even though her classical line is not as pure as some she still brings great dynamics to the steps and is always fully present in her dancing. 

This, exactly.

I was also at last night’s performance and knew something was different, but not familiar enough with the choreography to know what precisely. I just know I enjoyed it immensely. Her in-the-momentness just makes it pure joy to watch.

I posted this elsewhere, but in case anyone misses it this is a good offer for ROH streaming: “After your free 14-day trial, you’ll pay just £1 a month for the first 3 months and £9.99 a month thereafter. Plus, you can cancel at any time.”

https://checkout.timeout.com/london/1-a-month-for-your-first-three-months-of-royal-opera-house-stream-60470

This is a good offer for ROH streaming: “After your free 14-day trial, you’ll pay just £1 a month for the first 3 months and £9.99 a month thereafter. Plus, you can cancel at any time.”

https://checkout.timeout.com/london/1-a-month-for-your-first-three-months-of-royal-opera-house-stream-60470

20 hours ago, Beryl H said:

I seem to remember being able to exchange Bolshoi tickets for other Bolshoi tickets within the Summer Season, but I don't think you could get a refund, this was before the Gift Certificate days.

 

 yes, I remember that as well, so that's why I was wondering 🙂.

I did get a prompt reply "Our standard credit/returns policy applies for this production".

I wonder if anyone has checked with the ROH Box Office if the ticket exchange for account credit is applicable to The Australian Ballet performances? I’ve messaged them but not expecting a rapid response over the Bank Holiday weekend. Jewels has tempted me to book, but August is a long way off so it would be good to know if the very useful exchange policy will work.

43 minutes ago, JNC said:

...Im interested as to why something like woolf works (less “classical” ballet without stereotypical tutus etc, not necessarily a familiar story, shorter run/fewer performances) sold much better... 

I aim to go to a ballet or opera once or twice a month, so Woolf Works was an easy choice for March, I knew I liked it and the ticket price was uncomfortable rather than painful. When it came to April/May, Cinderella was very much an unknown to me but seemed to be a cross between The Dream and The Sleeping Beauty, so I just booked for Sleeping Beauty. I really did want to see Cinderella but I wasn’t prepared to risk my monthly ballet treat on an unknown. (I am going now though 🙂).

Why do they keep these things so under wraps? In all likelihood I’ll only ever go to one performance of Arminio in my life and if I’m distracted from the music wondering what the production is trying to tell me it’ll be a bit annoying.

If anyone goes to one of the first two or three performances please let us know what the production is about 👍.

I’ve booked to see Arminio and I’m interested on any thoughts as to what to expect. I’ve read the story outline but I’m not listening to too much beforehand as I’d like to be surprised the first time I hear it. With Alcina it was a bit puzzling why everyone was dressed as Pilgrim Fathers, and in a greenhouse. So it would be helpful if anyone has any insights on what the Arminio production setting might be? If the photo on the booking page is anything to go by it looks like a modern setting.

15 hours ago, Geoff said:

And my personal all-time favourite —

I do like this one - it took me quite a few visits, sitting on the sofa, to realise there's a hidden face!

2 hours ago, Timmie said:

 

...not booked yet...

I’m not sure which convinced me the most. Yasmine Naghdi on the radio, rail strikes suspended, 25% off my favourite seat or the discussion on this thread – but I’m now going to the ball 😄.

1 hour ago, Richard LH said:

It seems to be for people who have already booked for seats other than those in the categories now offered for a discount (i.e. other than the specified seats on the 3 given  dates next week)...but I stand to be corrected if anyone has been offered a discount otherwise?

It’s more complicated… I’m a Friend, not booked yet and I’ve received the offer. Email wording is “we’re offering our Friends 25% off the best seats”.