Geoff

Just had a quick spin through tonight's Twitter after the first night of the Lucia we have been warned about. More positive than otherwise, I would say (though not about the conducting). There was however still some booing.

Just to say, I have heard some pretty exciting rumours about Anastasia casting, so fingers crossed (even though it is a show I never felt really worked). And for those who have commented negatively about the return of Strapless, Kevin O'Hare made it clear in the Sunday Times this week that it will be reworked for its second outing, so perhaps we should give it another chance.

Three different reviewers have used the exact same word: "genuinely" funny. What do people think? Did this show make you laugh? "Genuinely" laugh (and what kind of shows produce laughter which is not "genuine")? Or did one have to be there?

Many thanks! Let's see how long this link survives...

Thanks John. I had somehow picked up the impression that a disproportionately high number of views had come in suddenly - within 24 hours - suggesting some kind of technical issue but I was probably wrong. Apologies if this is a muddle.

Tee hee! You have made that point before FLOSS - and I appreciate it each time you make it. The MacMillan "problem" is indeed a distorting factor in RB seasons and that old image is increasingly meaningless to new audiences. Perhaps there was a time when - whisper who dares - it might even have been good box office to play up a (rather artificial but nonetheless) set of dichotomies, MacMillan/Ashton, new/old, sad/happy, town/country, pepsi/coke whatever...but now? In the 21st century? In 2016, when both are long dead? A point I was once able to make discreetly to current RB management is that today's audiences don't know anything of the actual history, nor care about any ancient so-called rivalry, and just want to see great ballet, which both choreographers produced in quantity. No idea if this was appreciated.

Good news: I was able to watch (nearly) all of this yesterday evening, and pretty good it is too. Bad news: the YouTube link has now been removed. Does anyone know where else this might turn up (eg Vimeo or wherever)?

I see a thread which only started this February, yet has suddenly gained over 26,000 views, most of them recently (Giselle, RB). This and similar on a couple of other threads suggests a glitch somewhere. I may be completely wrong but just thought I should pass on my suspicions! Apologies if off the point.

A (free) opera concert from the Mariinsky, with some pretty amazing voices:- http://mariinsky.tv/n/e Gala concert of Mariinsky Theatre basses, baritones and tenors Akhmed Agadi (tenor) Yevgeny Akimov (tenor) Mikhail Vekua (tenor) Roman Burdenko (baritone) Alexei Markov (baritone) Ilya Bannik (bass) Stanislav Trofimov (bass) The Mariinsky Orchestra Conductor: Mikhail Sinkevich The programme includes: Arias, duets and scenes from operas A Life for the Tsar, Prince Igor, The Tsar’s Bride, The Queen of Spades, La forza del destino, Rigoletto, Aida, Tosca, Turandot, Don Carlos, Carmen, Pagliacci, Il barbiere di Siviglia, Otello, Un ballo in maschera

The latest:- https://pbs.twimg.com/media/Cei8gSiWwAIbIrL?format=pjpg&name=large

Mark Wigglesworth has broken his silence in today's Telegraph:- http://www.telegraph.co.uk/comment/letters/12204446/Letters-Farmers-will-be-better-off-when-Britain-leaves-the-European-Union.html http://www.telegraph.co.uk/news/celebritynews/12204556/Mark-Wigglesworth-writes-ENO-must-change-but-cuts-are-not-the-way.html

Just read this set of postings alongside the other, opposite, list (for our *favourite* ballets). Surprising little crossover, though Jewels and Isadora seem to do well on both lists, i.e. they arose some strong feelings as personal favourites as well as least favourites!

Rather a revealing discussion. Funny to see Acosta's Carmen make somebody's all-time list, that didn't take long. I agree, Carmen was infuriating in a way which lifted it beyond merely new-ballet-which-doesn't-work-and-will-be-forgotten. Not just poor, inept, vulgar, pretentious etc etc, it was head in the hands awful, and at the same time so irksomely full of itself. A special case and a horrible way to remember Acosta (imho RB management did him no favours by allowing him to make such a fool of himself but maybe they had little choice, given the circumstances). SB has had a lot of comments. But surely saying one doesn't like Sleeping Beauty is like saying one doesn't like an encyclopaedia.

Here is Cressida Pollock's "manifesto", published just before the Wigglesworth announcement:- http://www.independent.co.uk/arts-entertainment/classical/features/eno-head-cressida-pollock-s-exclusive-manifesto-to-save-her-company-i-cant-allow-it-to-fail-a6944756.html

This is a terrible blow. Wigglesworth is a great artist and was a statement of intent when it came to the ENO being taken seriously.

Just in case people did not watch every single minute of Crufts, some might appreciate one particular competitor. The item starts around 13:18 (sorry that I am not clever enough to extract part of a YouTube video):-

My curiousity having been aroused by the promise of a free Parsifal live stream from Vienna (see separate post) I found this:- http://www.theoperaplatform.eu/en/opera The shows (including eg a Walkure and a Eugene Onegin) are free to watch (paid for by the EU so as it's our money we might as well take advantage) and work fine. A couple of clicks and they play. There is also the option to subscribe to get advance information on what is coming up. As someone said in another context, fill your boots!

Suggest you check the fine print: in the past they used to allow a certain amount of time- shifting, up to (if I remember right) 48 hours after the start. So if nothing has changed one should be able to pick a later start time.

Just in case people are interested in a free live stream:- http://www.staatsoperlive.com/en/live/289/parsifal-2016-03-30/#tab_0 This exceptionally intelligent show (which I saw live with the first cast) is cast to a high level and conducted by Adam Fischer, so should be good.

Anybody see Spartacus yesterday (recorded in 2013 but I don't remember it being broadcast till now)?

Given how difficult it can be to get tickets for ROH Insights I thought people might like to know that there are currently some tickets available for next Tuesday evening:- http://www.roh.org.uk/events/x2d65

The hollowing out of ENO goes way back. It is a crying shame that their training system was broken: over many years repetiteurs and permanent music staff guaranteed continuity, a secure company and the next generation of British singers. This made ENO indispensible and undoubtedly deserving of government support. What happens on stage was only the most visible part of the operation. But backstage (and therefore invisible) cuts, however disastrous, do not provide good opportunities for political posturing. I have absolutely no idea how to get out of the mess but it seems far too late to rely on old-school union arguments, even if they have merit.

On 3rd March there was wave after wave of undisciplined coughing (no efforts made to stifle the sound), particularly during quiet passages, almost as if some people were bored by "nothing happening". Yet the stalls stood up and gave Jaho a sincere standing ovation. When I went back on the 8th, nobody coughed but there was no standing ovation either. Jaho was wonderful again. Apparently she is coming back next season as Butterfly.

By the way, it was great to see the Moshkovsky Waltz (Daria / Vadim). Apparently there is a ballet school which requires everyone to dance this as part of their formal graduation. Blimey!

If we're picking one favourite, mine would be Daniil Simkin / Corsaire (apologies for typos in my original post, it was late)