Jump to content


  • Posts

  • Joined

Everything posted by Geoff

  1. Not sure where to put this (admins please move if there is a better place) but I have only just noticed a line which may or may not be clearer than other statements the ROH has made in the past. This appears in the latest ROH monthly e-newsletter which I got by email at the end of last week:- >>As part of our commitment to opening up opera and ballet to all, 20% of our Main House tickets are held back until General Booking, including through our Friday Rush programme Now we know?
  2. I just spoke to the Barbican box office who told me it has been officially announced that Viviana Durante is not dancing tonight, Saturday, despite what it still says online:-- >>the challenging Five Brahms Waltzes in the Manner of Isadora Duncan by Frederick Ashton, performed here by the legendary ballerina Viviana Durante in her first solo appearance for a decade They are offering to swop tickets for other evenings in the run, as they have not been told she will not be dancing the other performances. Wishing the wonderful Ms Durante all the very best and a swift return to the show.
  3. I just looked out his review (1* reviews are often instructive even if one doesn’t agree, which I don’t):— http://www.classicalsource.com/db_control/db_concert_review.php?id=17085 The concluding list of RB recent pieces he didn’t like made me think:— >>Wayne McGregor’s dreadful Raven Girl and Christopher Wheeldon’s half-baked Strapless through the dull predictability of Hofesh Shechter’s Untouchable, Arthur Pita’s ridiculous The Wind and Sidi Larbi Cherkaoui’s laughable Medea – all gone, we fervently pray, but not forgotten, to serve as a warning to future generations He’s forgotten Acosta’s head-in-the-hands embarrassing Carmen (and it was Medusa not Medea) but one gets the point. The generally low standard makes Cathy Marston’s achievement stand out even more. IMHO.
  4. and now one in Scotland (but still none in the London area): https://www.picturehouses.com/movie-details/000/HO00009565/bolshoi-ballet-swan-lake-encore-2020
  5. I have found encore screenings of this upcoming Swan Lake all over England Alison (in the week following). But I have not as yet been able to identify any in the London area so hope somebody is cleverer at searching than I am!
  6. Are any encore screenings of Swan Lake planned for the London area? I am completely stuck next Sunday so hope to find another screening later in the week or whatever. Help please!
  7. I raise you Ridley Scott’s film “The Duellists”. In my memory, the characters just fight one duel after another. Sometimes according to the rules.
  8. Indeed. However did anyone - no doubt more politely than this - ask if the show has been changed since its first run? My wicked hope is that, given that the choreographer has been banned from the building, maybe people with skill and experience in putting on shows have been at work on this revival.
  9. Thanks for the Pushkin update Anna. No card tricks in the opera!
  10. Indeed. See here (pages and pages and pages): https://www.balletcoforum.com/topic/19491-new-roh-website/ The figures I have been given as to the cost of the “redesign” have not been confirmed (I am working on it though) but they are astonishing, well over £1million.
  11. Last night I saw Onegin - at least this is what it looked like to me - performing a card trick to Olga and Lensky during the family ball at the beginning of Act 2. I never noticed this before (my eyes are usually elsewhere during this music but Bolle kept me focussed) Does anyone know if this comes from Pushkin?
  12. Love to know if it is worth the effort. We’ve never managed it yet. For an attraction which seems well suited to our technical minded teenager, their date schedule keeps skipping half-term.
  13. Bumping this up, as I am planning what to try and book for the Heritage programme, which will no doubt be popular as well as needing good sightlines. As a year has passed since the last post, I wonder if the ROH is now better at designating seats according to how much one can see? And have people got more information on where it is good / bad to sit?
  14. Does anyone happen to have friendly relations with the chap? Might it help to draw his attention to this discussion?
  15. Thank you! My sense is he's been getting worse recently (even quicker off the mark, even less discriminating in choosing when to offer his comments)...
  16. Has anyone else noticed a certain stern solo low male voice shouting bravo (sometimes brava, bravi) at shows in London this season? These sorts of signs of approval are not unusual of course - done it myself at great performances - but I have noticed this particular voice over the last few months, in both the ROH and (less frequently) the Coliseum. It seems to my ears to be the same person, which is why I am posting. The characteristics of this particular enthusiast are: - placed in lower sections of the house (maybe Stalls Circle in the ROH?) - shouts as soon as possible when the variation or aria finishes - shouts ahead of the audience’s applause starting, often while the music is still coming to an end - shouts even when things are not that special - and he is often the only person to shout out (in other words, the music is finishing, he shouts all by himself, and then perhaps the audience starts to applaud) It may be that I am imagining things. But if not, I wish this person - who has access to a lot of tickets and perhaps an unusual personality - could be helped to understand that it would be considerate to wait at least a few seconds before sharing his loud opinion. Some of us are still listening, watching, involved in what is happening on stage and in the pit.
  17. Many thanks! Takes me back. I did this at a school show half a century ago, not nearly as well of course but we did have puffs of theatrical smoke at key moments.
  18. When the show first came out, Stephen Jay-Taylor wrote: >>The outer acts set in the attic look like a touring production of "Oklahoma!" sponsored by IKEA, all blond wood, ridiculously brightly lit, and so shallow and squat in design that the cast have nowhere even to stand (let alone sleep four) other than to line up at the front, where they still can't be seen by anyone in the upper reaches of the house because of the set's low cluster of beams. Similar remarks appeared in a number - but not all - of the broadsheet reviews. Here is a review of the latest revival: https://www.telegraph.co.uk/opera/what-to-see/la-boheme-royal-opera-house-review-one-ear/ But, as always, other opinions are available.
  19. Yes, I saw some critical comment which suggested the show has somehow bedded down, so perhaps I should have gone back. Not sure that’s right. For a start, little of the production is very dimensional, which is what costs the money. It works on camera though, a criterion which is either the thin end of a dangerous wedge (in some people’s eyes) or a triumph of open access for the people (in the eyes of eg ACE).
  20. Of course, silly me. This went out of my head as I won't be in the UK then, lucky those who will be there!
  21. Just checked, you are quite right Rob: that line about the “Website Redesign Team” has indeed disappeared now. This is hilarious. It seems these clowns can’t even do something this simple without messing up. Either they were not in fact supporters, in which case they put the line on there by mistake, which is a strange thing to do. Or they wanted to support in some way, but were told this was not legitimate. Or it was some kind of odd gesture by a rogue employee trying to make a point, whatever that might have been. Or some other equally idiotic mix-up, typical of the confusion they have put us through in this year (has it been that long?) of unintended “beta testing”.
  22. I feel sorry for the son of the nanny, spending £30,000 on private detectives.
  23. And here: https://www.thetimes.co.uk/article/0f10a62a-42e1-11ea-a083-1ec392b38124?shareToken=0ac6371331824d78c40e8954466ea253
  • Create New...