Geoff

Might this be an appropriate place to share a personal story? Some four or five years ago I had cause to discuss the present era of the Royal Ballet with Clement Crisp. When I asked him for his particular favourites among those in the company he thought for a while and then picked just one name, Laura Morera: “she has everything”.

As there have been a couple of performances with Dhr. Bravo recently at which he was (so far as I could tell) silent throughout, I wonder how much in control of this behaviour he is? Maybe it depends on whether he has a drink before the show, or the phases of the moon or whatever?

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The pictures in this news story published today may bring back memories for some:- https://www.dailymail.co.uk/news/article-10247707/Princess-Dianas-secret-ballet-school-visits-revealed-never-seen-photos.html

Just noticed a further twist, which would impact on e.g. the evening of Saturday 27 November (so far there is no indication on the TfL website that these strikes are not going to go ahead): Evening and overnight strikes - Central and Victoria lines These strikes will affect evening and night services on the Central and Victoria lines only. Strike dates Strikes are planned for the following dates from 20:30 until 04:29 the next day: 27 November, 3 December, 4 December, 10 December, 11 December, 17 December.

How come this event seems to have got its own booking date (or have I misunderstood)? Surely not because the Insight is on the magical palindrome 22.2.22 ?

I just received an email from TFL with the announcement copied below. Those heading for Ballet Icons at the Coliseum this Friday (or indeed Macbeth at ROH or other shows in town) might want to plan around this disagreeable possibility: Industrial action is planned by the RMT union on the Central, Jubilee, Northern, Piccadilly and Victoria lines all day on Friday 26 November and Saturday 18 December. If the RMT goes ahead with its action, it could mean a significantly reduced service on these lines all day with little or no service in places. It is also likely to mean much busier services on the Tube lines that are not affected by the strike (Bakerloo, Circle, District, Hammersmith & City and Metropolitan) as customers seek alternative routes. Thameslink services and buses through central London are also expected to be busier than normal. And of course this may impact on Nutcrackers at ROH and the Coliseum on Saturday 18th December as well, but this is less urgent.

When clicking on the link I get a request to install the Vienna Staatsoper app - which appears not to be available in the UK. Is there a way around this?

Just a comment on Gerhaher, whose performance has received a variety of responses, from raves (including from at least one critic, though not at all of them by any means) to “embarrassing” (from a confirmed Gerhaher fan). My own view - after yesterday’s matinee - is that he probably should not have accepted this job. However what he did was at least not ugly, unlike the time an old man who couldn’t sing the part (Domingo, sad to say) made indistinct sounds across the sublime Jaho, a once-in-a-generation wonder hopelessly trying to make music. One of the worst scenes I ever saw at Covent Garden.

Thanks everyone, v helpful. As to bonkers, both the official Bolshoi/Pathe website and the website of the Phoenix cinema itself listed a screening today at the Phoenix- but as the cinema (finally) just confirmed, they aren’t showing it.

Anybody got a good idea as to whether the Bolshoi/Pathe live stream of Spartacus is actually available in London tomorrow Sunday? The Pathe website says it is (at 3pm) but I just tried the websites for both the Picturehouse chain and the Phoenix and what they are saying is bonkers, or at least no help. Phone calls don’t seem to be on offer so I thought I’d ask the Forum.

This article about changes to Scottish Ballet’s Christmas Nutcracker might be of interest: https://www.dailymail.co.uk/news/article-10168989/Ballet-bosses-change-Nutcracker-racial-stereotypes.html What do people think?

Timmie, a bit late I realise I should probably have pointed out that the second cast of Nabucco (which maybe I would otherwise steer you away from) includes the amazing Anna Netrebko, possibly the most famous opera singer working at the moment. Opinions about her voice are divided. People who know her performances from recordings/live transmissions can be critical in a way that fewer people who hear her live are. So to my mind she is always worth trying to get to hear in person. Be warned: getting a ticket can sometimes be quite an issue but you won't regret the experience.

My (failing) memory is that the Symphonic Variations footage was of a rehearsal.

He didn’t, no (it was an offhand remark). I won’t venture a guess as to what he was referring to but people here have in the past commented that “different” is not always the same as “better”. And there is a strong case made for Cecchetti training, for example by Julie Cronshaw in her recent YouTube film. In any case the archive film shown during the evening made its own case. It will be interesting to hear what others think once it has been live streamed.

No idea but I suspect that is what this is about.

Don’t get me wrong Timmie, Figaro is a masterpiece, one of the greatest operas, maybe the greatest. So please don’t be put off by my flip remarks. But the reality, given the nature of the work, is that it is often not shown to best advantage in houses the size of Covent Garden, the ones who showcase the finest voices. So much depends not only on supreme musicianship but on strongly characterised, detailed and true performances, which can be hard to see from the back of the amphi. The giant barns - in London, Paris, Vienna, New York etc - are far larger than the theatre Mozart premiered his work in, the old Burgtheater next to the Hofburg in Vienna. So it is perhaps unsurprising that the most exciting Figaro I ever saw was in the Schlosstheater at Schönbrunn palace in Vienna, perhaps a more comparable size, with a cast of advanced students/young professionals. Just so sexy and a real insight into the many different kinds of happiness and heartbreak explored in this most wonderful of scores and most poignant of comedies.

indeed. However it seems possible that the unnamed company is in fact seeking to control in a more, what one could call, “modern” (PC) way, in relation to comments about specific performers. For example, trying to outlaw saying that a fat dancer “looks a little heavy”, or noticing the skin colour of a dancer, possibly even saying that someone is not very good (remember, all must have prizes and dancers and their families have feelings and could suffer from “micro aggressive” writing). This is slippery stuff, given the world we live in now.

Ooh Timmie, the cognoscenti *love* these sort of quizzes. Hope you get loads of interesting replies. Let me start things off with a few basic comments, which no doubt everyone will disagree with. I am very partial to Macbeth, and will be going at least twice. It’s rip-roaring stuff, pretty sensational music when done right, and it doesn’t last too long (the previous ROH production was super-speedy, this one though takes itself more seriously - as does the singer giving us his Macbeth - which may slow things down a bit). Earlier Verdi than the ones you’ve seen so you’ll find it straightforward (it’s the same plot, btw, not always a given). A definite booking, I would say, unlike Nabucco (which has some wonderful things in it but can drag). Figaro? Some say this is the greatest opera of them all. It is perfect. Downside is that on an off night you can feel, by the time you get to the interval, that you have seen at least a whole opera already but now you have to do it all again. Then again you have already enjoyed Don Giovanni, which has the same potential problem. This Figaro cast is youngish and unknownish, which might be terrific (given that the drama is about a bunch of young people who fancy each other like crazy) or it might be a bit of a duff evening. And who knows how Pappano will conduct it (the traditional sneer about his conducting is that he does everything like Puccini, which would be fatal for Figaro). Angela Gheorghiu will be one to tell the grandchildren about. On a good night she can still pull out all the stops (when she is not distracted by her cleavage or the prompter). Go and have a great old time at the opera, in some ways she is perfect casting for Tosca. All IMHO only, of course.

Hm, I won’t be rushing to either. But have just booked a repeat visit to Oropesa. Her cast has got pretty solid Twitter comments/reviews so far.

There is a new Osipova show coming up in Edinburgh, by the way. See here for a clip and press release (which also tells us that she is now married):-

Marvellous to have so much Ashton on show. Did all the performances show his work to best advantage? Perhaps not but every single one was worth our time and attention. The marvellous clips we were shown of performers from the past were the greatest of treats, particularly as many of the clips are so rare and the dancing was so good and so idiomatic (and generally faster than we have got used to from the company). Two incidental points which emerged during the evening might be worth highlighting here: - When Ashton was making The Dream he was so concerned for things to be as clear as possible that he kept bringing people in during the rehearsal process, to ask if they understood what they were seeing - One modern dancer said in passing that they couldn't dance at the speed of the performers who created the ballets. The film was very good (a little over-intercut in places) and I hope the Foundation will make it available. In any case I much look forward to seeing everything again on the live stream. So much to learn from and enjoy.

Just to say I've just started a thread in Performances Seen about this evening - and took the liberty of copying your post across Tebasile, hope that's ok!

What did people think of this show (which thankfully was filmed and will, it was said, going to be on YouTube in a few weeks)? From another thread, hope ok to copy across to a new thread: >>Highlights for me were Ball's Fisherman solo and the striking Hamlet with Bracewell and Hayward - looking forward to their Swan Lake.

Having now made contact I am happy to confirm that this team is very professional, including offering protection to those who feel the need to speak anonymously / confidentially / securely.