Geoff
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Posts posted by Geoff
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I just posted on the Audience Behaviour thread - and then wanted to add a word, so pressed a button to edit the posting. Unfortunately I pressed the wrong button, amd have now quoted myself, producing a double posting. Might someone be so kind and delete the second posting? V sorry for my Ipad clumsiness.
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Gosh, I just had a flash of a wonderful scene from a film - but which film? The joke centres on a woman dressed up for I think a funeral - anyway something solemn, religious and quiet - with large bracelets on her right arm. She slowly makes the sign of the cross: as she raises her arm to touch her forehead, the bracelets clatter down her arm. Then she lowers her arm to continue the cross - and the bracelets clatter noisely back towards her wrist. And so on. Can anyone remember this scene and where it is from? Billy Wilder maybe?those enormous charm bracelets that were so popular forty years ago. They used to clank and tinkle as their wearer shifted in her seat and acted as a sort of acoustic after shock when the wearer sneezes=d or coughed.
Feel free to write me a message as this is of course way offtopic, apologies!
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An update: tonight's Evening Standard has a diary story about people bringing chicken nuggets into a performance at...yes, the Duke of York's.
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Thanks Janet. Is this a hot tip or are you just passing on the information? I'd be interested in opinions on the show, as it's returning.
Call me jaded but this prose doesn't suggest an event any different from a dozen other similar shows, but more than happy to be told otherwise as I know nothing about this.
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Just a thought: have you tried using the ROH website, which gives you a photograph of the view from every seat in the house? I don't know how to access this function without pretending to buy a seat, but if you find a performance with lots of seats on sale, pretend you are booking the same box and then you will be offered the view of the stage from the box, which can be viewed fullscreen so you can see exactly what you are going to get (you don't actually have to buy the seats, of course)
When you get there, as it's a box you'll have the space to yourself and so can move the chairs around to make things cosier or fairer, how you wish. You can also stand up and move around when you want, for a better view of a particular dancer or whatever, without bothering other patrons or being told off by an usher. If your former friend and his wife are the priorities, put them in the two best seats at the front, and adjust yourselves around them, would be my suggestion.
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A double first for us tonight, sitting in the front row of the Royal Circle for the Ayckbourne which has just transferred to the Duke of Yorks in the West End:-
* A party of four - also in the front row - noisily shared a large bucket of popcorn until eventually shushed by someone sitting behind them (actually, does popcorn come with a quiet option?).
Correction, seems like I have failed to move with the times. I have just examined a piece of card I found in my programme: the food is supplied by the theatre management "delivered to your seat". The menu includes, not only two litres of popcorn (which explains where they got it), but boxes of crisps, bottles of wine and cocktails. There is an ATG (a company which presumably hates actors) app for it. So.
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A double first for us tonight, sitting in the front row of the Royal Circle for the Ayckbourne which has just transferred to the Duke of Yorks in the West End:-
* A party of four - also in the front row - noisily shared a large bucket of popcorn until eventually shushed by someone sitting behind them (actually, does popcorn come with a quiet option?)
* And right next to us a man was checking emails, exchanging texts and searching the internet on his phone during much of the performance.
What seemed astonishing to us was, given the size and design of the theatre, there is no way the cast could not see both of these activities, indeed hear one of them. As (massive name drop coming up, sorry) Shelley Winters, sitting in front of me during a rehearsal at the Actor's Studio in New York, said when I made a noise with my nails, "Please, there are people trying to work here".
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I have commented a few times on the ENO crisis (see the separate thread). But this note is simply to encourage everyone to go to Jenufa, which has one more performance coming up, this Friday 8th July. It is as good as the ENO ever gets: wonderfully conducted by the sadly departing Mark Wigglesworth, a great cast and chorus, an award-winning production...just go! When I last looked there were seats available at all prices.
If you already know it, this opera is of course pretty miserable, although with a stunning "happy ending" (one factor which may have contributed to its success over the years). If you are a Janacek fan (Cunning Little Vixen perhaps?) you need to see this. If you don't know his work, this stunning evening is a great place to start. I was there tonight and frankly, after the dodgy new Trovatore at the ROH (why another production by a beginner from the continent? there are enough, presumably cheaper, incompetents available here) and the Ring on the South Bank (one needs to be supportive but the RFH is terrible and many elements weren't top notch), it was just tremendous to be able to relax, knowing that everyone involved is at the top of their game. Friday's performance may be a last chance to experience the greatness of the ENO we all remember, before an enthusiastic young American (who ruined Tristan recently) takes over.
No need to believe what I say. Check the reviews or the words of the President of the ENO, who sent out a note:--
>>I have not given a plug for ENO recently. Despite all the noise, the productions have been selling very well. But the brilliant Jenufa still has a lot of seats to sell. This would not move me to recommend it here but its excellence does. It would be a big shame to miss seeing this remarkable production.
>>Barry Millington describes it in his 5 star review in the Evening Standard as “a revival of David Alden’s terrific 2006 production that seems even more heart-rending than before.” The music is both beautiful and searing and the orchestral playing and singing is wonderful. It really is a most moving opera and this production has received 4 and 5 star reviews from everyone. If you have not seen it before then do try to go. If you have seen it before then this performance will enthral you even more.
>>If you can go, I guarantee you will not be disappointed. Best wishes Vernon
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Having heard Kunde on a radio recording last year (or the year before) I was really looking forward to his debut. Thrilling top notes, unforced, pretty amazing particularly for a singer his age - but some odd things seemed to be going on lower down.
Not what I heard on the radio. Was it me? Or him? We had no announcement of illness and indeed his behaviour at the curtain call suggested he was expecting an ovation, which he did not quite get. I am wondering about going back to check (I see he is down to sing a lot more performances later in the season so it can't just be me with high expectations). I'd be glad of a second opinion.
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I vote pretty pretty much with the consensus so far. Seen Anastasia a fair few times over the years and agree with previous comments (in addition I feel the Anastasia corps are treated with the usual Macmillan - make something up yourselves - disinterest, which might be pretty noticeable to a beginner looking for strong story telling) So maybe not for your friend at this point, though by what you write, you might well be interested yourself.
The only comment I would add to the excellent recommendations for Fille is to point out that (marmite queen?) Osipova is also dancing this ballet in the autumn. Not to get into the back and forth about whether Osipova has Ashton style or not, but your novice friend might be wowed by seeing her. I remember that when I was dating, a fair few years ago now, a night out with Darcey Bussell in the cast was always appreciated, even though I didn't always ahem feel she was the best available option. But it all rather depends on what your friend is most likely to respond to.
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Just seen "The Truth", on the basis of a couple of 5star reviews and a pedigree which includes Christopher Hampton and the usually discriminating Chocolate Factory Theatre.
Don't be fooled. The truth about "The Truth" is that although a simple-minded West End crowd seemed ready to indulge this effort (an 8pm start so perhaps they were longer at the bar than usual) it is probably worth saving your money.
It may have been more fun in earlier incarnations but in the West End it came over as a flimsy, predictable, slow, derivative play. Sitcom acting, particularly by a male lead who has however been praised in some reviews. Just thought I should offer a warning.
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I have no inside information on what was going on backstage (although we were told the accompianist was transposing some pieces up as her low notes were suffering) but she looked unhappy from where I was sitting.
What I felt musically is covered by these three published reviews:-
http://www.planethugill.com/2016/06/iconic-but-inconclusive-mariella-devia.html
https://bachtrack.com/review-mariella-devia-rosenblatt-wigmore-june-2016
Glad to have been there. Hope she comes back soon.
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The RB gave us Act III of Raymonda relatively recently (just looked it up and it was last on Christmas 2012/13, how time flies). What's the rest like, indeed what was the reason for dropping the first two acts? Most grateful for some background on this.
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This (from another thread):-
Sir Peter's memoirs have been written with Paul Arrowsmith, who I am sure most here will remember as a contributor in the glory days of Ballet.co, and a good friend to many of us. The event after this performance to launch them was fascinating and Sir Peter spoke with the same candour that my brief reading of the book on the train home suggests he writes with. There is a superb chapter on Cranko specifically, and Wright's insights into the world of British ballet are perhaps as insightful and at times controversial as you could wish for. All steered so deftly by Paul. An absolute must read!
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Hugh Canning puts the boot into Daniel Kramer, the new ENO Artistic Director, in The Sunday Times today (behind a paywall). Ostensibly a review of Kramer's ENO Tristan, the.article has much inside detail on Kramer's career - informed amd worrying - climaxing with "why did Pollock and her board appoint Kramer". Oh dear.
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Just to say, Opera North's Ring cycle, which has been very well reviewed and which comes to London's South Bank shortly, has been sold out for a year. But I see a few last minute tickets are now available, at most prices and for all four operas. The link is here:-
http://www.southbankcentre.co.uk/whatson/festivals-series/opera-north-ring-cycle-201516
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Not to be silly but exactly how useful is it to have so many different grades? An outside observer might see how the "hidden control" (as the Left or some sociologists might characterise this) provided by keeping almost everyone in a company on tenterhooks about their place on a ladder of many small steps - but just how many grades of performer are actually required for the smooth running of a classical company?
One analogy might perhaps be with the armed forces, where some levels of seniority seem to be there just so that troops can be motivated and/or rewarded and/or punished by promotion, the promise of promotion, and the witholding of promotion.
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You have until 11am this Tuesday morning to enter the competition for a year's worth of live streaming from the Staatsoper (some people however have concerns about publishing their email addresses):-
http://slippedisc.com/2016/05/exclusive-slipped-disc-offer-one-year-free-viewing-at-the-vienna-opera
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For those who haven't already seen it, may I draw your attention to Wigglesworth's extraordinary interview in The Times today. No link as it's firewalled, sorry.
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My stalls seat was near the end of a row so quite a lot was lost behind banks of speakers piled up at the corner of the stage. I would have called the seat restricted view.My ticket was not marked as being 'restricted view' nor was it cheaper than any of the other stalls seats. This is the first time I have bought a ticket anywhere in the UK or Europe where a restricted view ticket wasn't clearly shown as such
If ENB are going back to the Palladium I hope they will learn from this experience.
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Was anyone there last night, Thursday? Apparently Peter Seifert couldn't go on for Act 3 so someone from the audience sang in his place. Don't know any more.
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When Anna Netrebko withdrew from ROH Norma, there was a fair amount of online comment to the effect that the fabled Mariella Devia, despite advancing years, has recently been singing very well in Paris and would be the perfect replacement. As it happens Devia comes to the Wigmore Hall on June 14th, for an opera-heavy programme (including Casta diva). This seems the perfect hall for what I know of her voice and astonishingly tickets are still available:-
https://wigmore-hall.org.uk/whats-on/rosenblatt-recitals-201606141930
The website says under 35s can go for £5, which also seems pretty amazing.
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Just looked at the ROH website and, amazingly, there are three returns for what looks like a great Insight evening tomorrow Thursday:-
Insights: Joining the House. The Royal Ballet 1946-1956
12 MAY 2016
CLORE STUDIO UPSTAIRS
Join us for a celebration of The Royal Ballet’s 70th anniversary as resident ballet company of the Royal Opera House.
Bayreuth on Sky?
in Opera & Music
Posted
Apparently the whole of this year's Bayreuth Ring was on Sky Arts this weekend. Quite a coup but did anybody see any of it?