alison

2 hours ago, art_enthusiast said:

I remember when Marriage of Figaro was shown in 2022, I stood up to clap at the very end (because I’d only just started going to the ROH and wasn’t familiar with the etiquette there). The woman behind me poked me quite hard in the back, when she could have simply been polite and asked me to sit down, as I would have done if our positions were reversed. Or she could have lightly tapped me instead of poking. This is the sort of thing you learn in early childhood, spatial awareness/how to respect others….

I've been rapidly coming to the conclusion that that's no longer the case   

The problem with standing after a performance at the ROH, at least in Stalls Circle and the Balcony, is that due to the lack of rake it totally blocks the view of those who are already standing, i.e. those who have standing tickets rather than seated ones, and who therefore can't do anything about it. And - applying it to the Orchestra Stalls as well - not everyone is able, or inclined (i.e. not wanting to give a standing ovation), to stand up as well, so just have to sit there surrounded by loads of standing people at close quarters, which can actually be very unpleasant.

It's not a problem of ROH etiquette as such - it also applies to places like Sadler's Wells, although without the added problem of standing tickets, and probably anywhere which has insufficiently raked stalls.

It's been mentioned on here quite a few times in recent weeks, but I don't think we have a specific thread on it, so here goes:

The Paris Opera (Ballet) streaming service (POP) appears to offer paid-for and free live and recorded streams of their productions, masterclasses and rehearsals, both ballet and opera (and the School, too).  The options appear to be pay-per-view, or € 99 for a year's subscription (half that if you're under 28).  Seems like a bargain if you want to see something other than UK output.

https://play.operadeparis.fr/en

8 hours ago, LBC said:

Our next In Conversation via Zoom is TOMORROW!

 

Royal Ballet first soloist ISABELLA GASPARINI

Monday 8 April 2024

7.30pm (UK time, UTC+1)

 

FREE to LBC members.

 

Anyone is welcome to join this talk for £5, or to join the charity for £20 annually.

Note the later-than-usual starting time.

I was going to say I wondered why, since Carmen appeared to be largely sold out.  Then I scrolled down the page to what I presume is a second cast, and understood why they might be.

I really don't think that 3 paltry performances can be regarded as saturation of any kind ☹️

At least the London Ballet Circle's event with the RB's Isabella Gasparini this Monday is online, so shouldn't be affected.

That's a surprise. Do we know what this next chapter is?

That's what I wondered, but it wasn't clear to me.

I've realised that since I'm intending to go and watch this in the cinema I don't actually need my ticket for the above performance.  It's end seat amphi E34.  If anyone's interested, please send me a PM.

In my opinion, Requiem always looks better from on high

I'm sorry to miss Cojocaru, but the consolation is that I can at least get to see Yu Kurihara now.  I shall very much look forward to seeing how she's developed in the role since her already-excellent debut performances.  If it wasn't for the fact that I don't think I can face late nights three days running I'd be hugely tempted to go and see Mizutani too, because she had to withdraw from her scheduled performance in Birmingham when I went.

Ah yes, the loincloths.  I have a feeling they're less close to individual skin-colour than in previous runs.  Anyone else think so?

And the other thing I've been meaning to ask: I keep looking for a bit in Different Drummer where Woyzeck is hearing the Freemasons hammering underground, but haven't spotted it as yet.  Was I imagining it was there?

I've never been sure whether the auditorium is actually symmetrical - I get the impression that the pillars aren't in exactly the same place on both sides, but I may be wrong.

I've moved the reactions to this announcement to the thread in News, here:

I've moved a lot of posts relating to Cojocaru's withdrawal from several other threads to this one. Consequently, the order may seem a bit strange.

I've moved most of the threads relating to the change to Sleeping Beauty casting to a more appropriate thread, here:

And there can be a chilly draught in the amphitheatre at times, so a jumper may sometimes be necessary. 

A very useful post from Dawnstar elsewhere:

2 hours ago, Dawnstar said:

@Lucy M The viewing angle is a bit better because of being further round but the pillar which severely blocks C22 is somewhat obtrusive in C23 as well. The view from the seat photos for C23 and its opposite number C90 are not entirely accurate in my opinion as they show the pillar as being less obtrusive than I have found it in reality. Sorry if I'm sounding depressing but I have seen a lot of performances from the side stalls bench seats over the years and, while I personally accept the view restrictions as a trade off for the close-up views, I think people need to have realistic expectations.

Disappointed to find this is the same on the left-hand side too.  As you know when I sat there (right-hand side) recently, Dawnstar, I was very disappointed with the view compared with the photo.

I know Avanti get a lot of stick on here, but I've just had an email from them.  They've introduced the new Superfare ticket (prices shown are London-Birmingham):

1 hour ago, CCL said:

Yes, I just checked- it was C76 and 77 so that’s £55 for SL. Quite a discrepancy in price. The view was very good, I have to say- nobody was blocking it in any way - perhaps I just got lucky.

What a shame.  I must have been behind you somewhere, then.  Either way, I'll put it down to the dingy lighting, but I was still struggling to read the dancers' faces in Different Drummer.

I think there were probably quite a lot of newbies at last night's performance, but the audience gave everything a rousing reception anyway, which is good, especially if it convinces them that there's more to ballet worth seeing than just the "big name" full-evening works.  And Different Drummer seems to be going down surprisingly well this time around.  Perhaps tastes have changed.

Okay, I suppose someone might be interested in this:

https://www.whatsonstage.com/shows/inner-london-theatre/giselle-remix_364307786/

Although I must admit that its "instant sell-out premiere at the Royal Opera House" had totally passed me by.

Friday Rush a total disaster today - don't know what was happening.  Asked for the seating map - got a blank screen.  Every time I tried to do a Refresh on the seating, I got landed in the Checkout.  Go back a couple of steps - blank screen.  Refresh.  Checkout.  Back to the Swan Lake page and go in again.  Blank screen.  Refresh.  Checkout.  Rinse and repeat. 

Just tried with the 14th.  Same thing.

Oh well, there was that nice-sounding concert I could go to tomorrow instead ...

1 hour ago, CCL said:

Incidentally, the tickets for myself and my daughter, in Row C of the amphi- quite far round but not restricted view - were £22 each. I think that is absolutely outstanding value for money.

Probably why they appear to be about in the £75 price range for Swan Lake?!  Or possibly £55, depending on exactly where you were sitting.

Yes, I must admit it was marvellous being able to make my earlier train last night.  15 minutes' earlier departure = nearly 30 minutes' earlier arrival home.