Geoff

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.

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

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.

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

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.

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. If ENB are going back to the Palladium I hope they will learn from this experience.

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.

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.

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. http://www.roh.org.uk/events/tq5x8

Went back for the second time today, enjoyed it even more. Particularly well conducted, although the piece shows up the weaknesses of the ROH band. Silly comment (but as this is BalletCoForum, if I can't post this here where can I post it): couldn't help noticing that Venus wears a one strap evening gown, just like the one in Strapless!

You don't want to add Viviana Durante to that short list?

For those who might like to know a little more... http://www.operanews.com/Opera_News_Magazine/2016/5/News/Netrebko_Radvanovsky_Norma.html

On this point I once had a remarkable opportunity to compare and contrast. I watched the 1978 Sleeping Beauty (Royal Ballet live for Christmas, on YouTube) and then the second half of a friend's private copy of an earlier BBC transmission of the Royal Ballet Sleeping Beauty of 1969 (Sibley/Dowell, sadly not generally available). Leaving aside the principals (about whom one might have an interesting but different discussion) the most striking change is simply one of how much better the corps was in 1969. Cleaner, crisper, faster, more fleet of foot. A big difference, yet less than ten years in between. Although many postings on an earlier thread praise the 1978 performance (in comparison to nowadays) just about everyone was more enjoyable to watch in the 1969 show.

There was an unilluminating instant piece in The Guardian. This is slightly more helpful:- http://www.theartsdesk.com/opera/daniel-kramer-eno-artistic-director-cause-cautious-optimism

Talking of which, see this review, just out, most of which I don't agree with (including his comments about the glorious FROSCH a couple of years ago):- https://operabritanniauk.wordpress.com/2016/04/27/wagner-tannhauser-royal-opera-26th-april-2016/

Not to pre-empt reviewers but just to say I was at the dress rehearsal on Saturday and am now arranging to go back. This revival is in some ways stronger cast than the original; the conducting all in the right place; the chorus in fine voice; and the (modern clear unobtusive undistracting) production a relief after Lucia. Of course there are people who don't go to Wagner. But if that isn't you, and you are wavering, try and go.

This week it seems appropriate to draw attention to this news report from 1953 and the royal splendour of the first night of Gloriana:-

Any chance you (or a moderator) could slightly alter the title so people can see what it's about? I have been following this discussion with interest but only clicked on the poll by accident, as currently it is headed "Bade poll" (maybe a typo or possibly a reference to the excellent Patrick Bade, don't know)

In trying to post some strike news in News/Information somehow a work in progress got posted as well, so there are now two posts up at the moment, one of which is incomplete and has a misspelled title. Is someone able to delete that one? Sorry!

Possible trouble to/from Victoria / London Bridge this Tuesday/Wednesday:- http://ehelp.thetrainline.com/app/answers/detail/a_id/4754

Advance notice of a most interesting looking documentary tonight, for those who would like a different take on Shakespeare:- http://www.bbc.co.uk/programmes/b0791p2k

That's great Susan! First, because whatever one may feel at certain points of certain performances of certain productions of SB, it is and always will remain the apotheosis of classical ballet. Second, because I admire anyone (particularly in these days of seemingly ever more strident online opinionating) who openly admits to changing their mind. Thank you for what you wrote.

From an article just published in the NYRB, which quotes a Dorothy Parker theatre review >>She may poke fun at a vast and gorgeous spectacle called Mecca—"It is comfortable to reflect that it gives congenial and remunerative employment to hundreds, including two exceedingly shabby camels, who, I am willing to wager, although my memory for faces is not infallible, made their debut in the world premiere of Ben Hur..." >> - but she goes on to say “the most important announcement is that Michel Fokine directed the dances, for they are startlingly beautiful.” Who knew that the renowned choreographer of The Firebird, Scheherazade, Petrushka, and Les Sylphides had once worked side by side with camels? The article is here (there are no more ballet references):- http://www.nybooks.com/articles/2016/04/07/brilliant-troubled-dorothy-parker/

For the confused there are some useful comments (among some less useful ones) here:- http://slippedisc.com/2016/04/bucharest-crisis-angela-gheorghiu-speaks-out/#comments

An overnight review from The Stage, with pictures:- https://www.thestage.co.uk/reviews/2016/lucia-di-lammermoor-review-at-the-royal-opera-house-london/